Here's where records of reading in the work of John McPhee are posted. On this page are characterizations of the first page or two of a number of articles; more extended reflections on whole articles can be found by clicking the links saying "Described by" -- if there's a link, the person named should have posted an extended reflection on her reading. Explanations of this process can be found on the main Web page for the course.
As of 24 March (see Prompt #21), the reading assignments focus on the articles whose titles appear in green. These are pieces which most readers would agree address issues broadly defined as "ecological" or "environmental." When you read such an article, add a note at the end of the listing saying "Described by [your name], create a link to your report, and create it, as usual, as a file named the first word or so of the title followed by your initials.
00. "Pioneer: A Star Coach Goes West." The New Yorker 86.6 (22 March 2010), 34-37. Described by Joanne Goodall
0. ""The Patch." The New Yorker 86.1 (8 February 2010), 32-35. Described by Joanne Goodall, Katelyn ClewsThinking about openings, here's one: "You move your canoe through open water a fly cast away from a patch of lily pads. You cast just shy of the edge of the pads -- inches off the edge of the pads. A chain pickerel is a lone ambush hunter. Its body resembles a barracuda's and has evolved to similar purpose." The gap left between the description of what "you" are doing and that description of the barracuda-like predator sets up a tension that lures a reader very much the way a "kiwi muddler" might lure a pickerel. On the basis of the first page, this is going to be an explanation of why you might want to go out in a canoe looking for pickerel, as opposed to bombing around in a bass boat. -- Russ Hunt
1. "One-Stop Shopping." The New Yorker 85.15 (25 May 2009), 38-40. Described by Shannon Billings, Andréa Peters, Matt McGrath
Just by reading the first page of this article, it sounds like the entire article is going to be about a quest for lacrosse players for university teams. McPhee lists several areas that the coaches are from so this must be a very important deal if coaches, and players travel really far for the tryouts. The coaches make notes about the players, and use code names to hide the identity of the player. "Coach 1: Why did you turn around? Coach 2: I just wanted to watch Walker Clinton. Coach 1: Is he good? Coach 2: No." Walker Clinton is an invented name used to protect the player that is not a good lacrosse player. I look forward to reading the rest of this article. -- Shannon Billings
2. "Spin Right and Shoot Left." The New Yorker 85.6 (23 March 2009),54-61. Described by Andrew Bartlett
This article is explaining all the rules and the history of the sport Lacrosse. The main purpose is to inform the reader that most sports were taken from lacrosse in some shape or form. Some of the great Lacrosse players are famous for other sports like Wayne Gretzy. The New Yorker Magazine has evolved over time and the pictures have turned from comics and liquor advertisements into seductive scenes of people in compromising positions. This can be compared with the evolution of Lacrosse. The rules can be dated back to the days of Aristotle. Many of the more recent sports were adapted and certain elements taken from Lacrosse to make games like hockey, basketball and football. People still enjoy the New Yorker as well as the game Lacrosse. Amy Lawson.
3. "Checkpoints." The New Yorker 85.1 (9-16 February 2009), 56-63. Described by Katelyn Clews
In the opening paragraphs, McPhee describes Sara Lippincott, former fact-checker for the New Yorker magazine. In an article previously written by McPhee, she had to check the validity of an idea involving Chinese balloons closing down operations in scientific institutes during the creation of the atomic bomb in World War II. The idea was given to McPhee by a physicist named John A. Wheeler, with the disclaimer that he didn’t know it to be absolutely true. In Checkpoints, McPhee admits he wrote the story anyway, and left it to Lippincott to decide if it could be published. The rest of Checkpoints will presumably explore the outcome of Lippincott’s findings.-- Evan Bower
6. "Season on the Chalk." The New Yorker 83:3 (12 March 2007),58-71.Described by Allyson Gorham In this article by John McPhee, McPhee explains that Europe’s chalk rests below the English Channel, which is mostly positioned below northern France, and it extends down to Germany, and Scandinavia, under the Limburg Province of the Netherlands, and under fifteen miles of the lower Thames. Chalk exists in a really large area! The narrator, and his 10 year-old grandson, Tommaso, are exploring the chalk in Thames, and they are taking note of the background, and the things that exist around the chalk, such as small boats, a wide river, and much more. Tommaso is an inquisitive young boy. He picks up a piece of the chalk, and breaks it only to use the chalk to write. Tommaso rights the words "rock on" on a piece of the revetment. Tommaso’s, "rock on" draws a crowd. Several things have been named after chalk, such as a town called "Chalk," "Chalk Road," a barber’s named, "Chalk Cuts," and "Chalk Park" neighbourhood. I think that since Tommaso has such an interest in chalk that he will take his grandfather on a journey to find more chalk, and to study about the history of chalk in Thames. It is hard to tell what will happen later in the story by only reading the first page, but I think that Tommaso will explore the significance of chalk in Europe. -- Shannon Billings
7. "Land of the Diesel Bear." The New Yorker 81:38 (28 November 2005), 116-131. Described by Joanne Goodall, Andrew Bartlett
This article is about a person that is observing his friend that is a truck driver. The truck driver is on the road 24-7 delievering several things, such as fatty acid, liquefied clay, petroleum-based candle wax, calcium slurry to many states, and provinces. The narrator has a chance ocassionally to join the truck driver in his trek across the USA, and Canada. The narrator sits up front in the cab with the truck driver, and they keep their eyes peeled for bears. They are always listening, and watching for bears. The truck driver is always looking for the best routes, and shortcuts to take with his truck to make good time for his delivery. You can tell that the truck driver has travelled the same ground (through several provinces, and states) over, and over because he knows of shortcuts, who the cops are, and what they are doing parked in certain spots patrolling. He also knows where the bears are, and other interesting details about the locations. It is obvious that the truck driver knows where he is going. I feel like this story will be about the truck driver, and the co-pilot running into some bears during their journey together, and narrowly escaping an attack or danger that they may be faced with. -- Shannon Billings
This article is exaclty what I thought It would be about; coal trains. He talks about the trains themselves, but also the people who spend extensive amounts of time working with them, such as the conductors and engineers. Once again McPhee goes on the adventure with the coal train. He describes his detailed adventures with the trains, and how everyone works together as a team, including the trains. This is what makes the coal train business work. It is almost as if the trains have a mind of their own in this peice by McPhee. McPhee makes characters out of the trains, giving them names and characteristics. He even goes as far as giving them human characteristics, like a nose. (extended analysis coming soon...)- Brittany Douthwright
9. "Coal Train - I." The New Yorker 81:30 (3 October 2005), 72-83." Described by Devika Dadhe
10. "Out in the Sort." The New Yorker 81:9 (18 April 2005), 160ff. Described by Shannon Billings
In this article John McPhee writes about a Lobster managing company called Clearwater Seafoods, whose work plant is located right beside the open ocean in Arichat, Nova Scotia. There are a million lobsters that are usually of passage in the plant at a time, and each of them resides in a “private apartment” where the temperature is maintained just above the freezing point. This collection of high-ceilinged lobster housing is called the Dryland Pound, and there are in total thirty-four levels high of lobster apartments. McPhee describes how all these apartments’ sizes varies according to the size of the lobster that is assigned to live in them, and because the water’s temperature is so cold and it is very dark in the Dryland Pound, the lobsters are tricked into thinking it is winter. This article’s first page gives me the impression that McPhee will discuss the state of the sea and how quickly its inhabitant’s head count has dropped over the past few decades, due to the increased amount of fishing that occurs year-round and sometimes out of season as well. I wouldn’t be surprised if he wrote about job loss due to the industrialization of the fishing business, either. -- Andrea Peters
11. "Tight-Assed River." The New Yorker 80:35 (15 November 2004), 80ff. Described by Shannon Billings
On the first page of this article, McPhee tells the reader the dimensions of a very large vessel that is navigating down the Illinois River. Since the boat is huge, careful navigation is required so that no containers escape from the boat. As always, he gives a physical description of the pilot, Mel Adams, and he also introduces a worker on the boat, Carl Dalton. McPhee uses awkward phrasing at times. For example, "each morning, before he [Mel] goes off watch at five-thirty, he cell-phones his wife, Aurora, and gently awakens her." I think that this article is going to be about more details of the boat, explain why the boat is travelling on the river, and that the boat will have a hard time travelling down the river safely. -- Shannon Billings
12. "1839 / 2003." The New Yorker 79:39 (15 December 2003), 70ff. Described by Adam Hodnett Throughout the opening paragraphs of this article, McPhee introduces the reader to the two brothers, John and Henry Thoreau. McPhee depicts the two brothers and explains that they are from Concord, Massachusetts. They decide to go on a journey in a sort of dory, with 2 rows and a sail; they venture down the Sudburry River and land in Hooksett, New Hampshire, which is 45 miles north of Concord. Henry Thoreau wrote a book detailing their journey entitled A Week On the Concord and Merrimack Rivers. McPhee and a college roommate of his decide to go on this same journey in an attempt to re-enact what the Thoreau brothers did; McPhee and his friend set out August 31st, 2003—164 years after the journey of the Thoreau brothers. It seems like it would be a very interesting read, to see how each voyage differed and where they were the same. From reading the first page, it is unclear as to whether or not there is any deeper meaning other than just doing the voyage because they can. - Katelyn Mokler
13. "Whiff."The New Yorker (10 November 2003), 50. Described by Andréa PetersDescribed by Darcy CameronDescribed by Jody McIntyreDescribed by Shannon Billings I read and leafed through the New Yorker with "Whiff" in it first. The article, which is only about 1,000 words, is magnificent. McPhee reflects on the advice given to him by one of his editors of the New Yorker, whom I am led to believe is a good friend of McPhee's because he adds inside jokes about him in this article. That, or, he dispises the man is talking in complete sarcasm. The advice is not to write about the future- it is forbidden territory because life does change. The stories McPhee wrote about the future are quite funny and the ending is hilarious- only if you fully understand the story and, in my opinion, it's sarcastic GREATNESS.-Joanne Goodall
14. "The Tee Room." The New Yorker79:6 (31 March 2003), 49-52, 54-8.Described by Evan Bower
The Tea Room is an interesting article on the fate of the Russian Tea Room which is being sold for meusume space to the U.S.G.A. This is an intresting fate to investigate he fate of a tea room, but McPhee does it makes it interesting. The words he uses makes you feel the sense of disappointment that this tea room will no longer be there. McPhee also goes into the history of the U.S.G.A and what is is all about. Despite McPhee’s Captivating words. I find it difficult. to understand where the story is going and why this is such an important situation in the first place. I fell the importance almost gets lost in his words and even though descriptive, informative and interesting after reading the opening I did not grasp the purpose of the article, which I think makes it a less than satisfying read. -- Candice Whitman
16. "Sapidissima."The New Yorker 78:24 (19 August 2002), 80 ff.
This article was in the recipe section of The New Yorker, nestled amongst an article from the “far-flung correspondent” about finding unique fruit at a New York grocer and an article about shadowing a restaurant inspector. The article is preceded by three different quotes about how, by eating an adult shad, you deprive a half-million shad of the chance to be born. From this, I expected the article to be about declining shad populations or overfishing. Instead, his brief introduction showed his intent to be persuading others to switch from frying shad to adopting a different method of preparation. To quote, “First I want to describe how I cook shad roe, then milt, then fillets boned and unboned, then whole shad.” The first page reads like a recipe book (only funnier and more entertaining), with instructions such as: “Cover the pan. Put it on the burner at medium heat, and do not go away. Do not answer the telephone. Exile wives, children, and even grandchildren-out!-for a couple of minutes while you listen.” It contains very precise, detailed instructions about how to begin cooking the shad and how it should look and smell at each stage. The rest of the article, I gathered from a quick skim, follows in a similar vein, with some flavour (pun intended) added by anecdotes from fishermen, different cultures and historical records about how shad could best be prepared. -Katrin MacPhee
17. "Absent Without Leave." The New Yorker 78:15 (10 June 2002), 40-47. Desribed by Matt McGrath
This article is about Shad Fishing, Shad being a type of fish. He highlights mostly the difficulties of such an acitvity such as having a hard time hooking the fish, impatience of the fishermen usually getting in the way of a productive haul, etc. The article is in the same style as the other McPhee article I have read, In Vigrin Forest in the sense that he uses obscure words and references and uses a lot of techniques borrowed from literary works. I found it to be more entertaining and captivating than In Virgin Forest, however.-- Ianic Roy Richard
19. "They're in the River."The New Yorker 76:7 (10 April 2000),72 ff.
19a. "The Control of Nature: Farewell to the Nineteenth Century -- The Breaching of Edwards Dam." The New Yorker 75:28 (27 September 1999), 44-53.Described by Amy Lawson.
20. "Catch-and-Dissect."The New Yorker 74:32 (19 October 1998),58ff.
21. "The Ships of Port Revel." Atlantic Monthly, 282: 4 (October 1998) 67ff.
22. "Swimming with Canoes." The New Yorker, 74:23 (10 August 1998), 33ff. Described by Evan Bower
The first page of the article “Swimming with Canoes” is written very much like a narrative. In it, McPhee talks about his time at summer camp in Middlebury, Vermont, when he was a boy. He talks about the different things you can do in a canoe, from jouncing(propelling a canoe without any paddles), to jumping from the canoe into the lake, and lastly he talks about the air pocket inside a flipped over canoe.I found McPhee’s writing style in this article to be easy and nostalgic. His use of imagery easily allowed for me to not only visualize what he was writing, but to put myself in his place,remembering my own time at camp.Because the subtitle of this article is “Invisible to the upside, outside world”, I’m thinking that McPhee is going to carry on talking about the experience of being in the air pocket of an upside-down canoe, and also that his writing style will carry through in the rest of the article. --Joline Gaudet
24. "Silk Parachute." The New Yorker, 73:11 (12 May 1997), 108 ff. Described by Darcy Cameron
Throughout this article there is a man reminiscing his childhood, adolescent and young adulthood memories that he and his mother had together. It is written in the first person narrative, as an older man looking back on the memories of his youth. He remembers a time when he stayed out all night at college playing poker. His mother wrote him a letter to remind him that “staying up all night playing poker was shameful behavior.” Another fond memory that he had of his mother was how protective she was over him when he was a child. He goes on to recollect a few other memories until he finally he ends with a memory of a silk parachute. This was a tiny, hand-held parachute that when it was thrown into the air it always “floated back to you – silkily, beautifully – to start over and float back again.” I thought this was an interesting clip to read. A few of the stories that the man remembered were humorous. It was easy to sink into the man’s memory and picture parts of his youth. Because this article was only one page long there is no need to speculate what will happen next. He ended his memoire with what seemed to be his fondest childhood memory, the Silk Parachute. – Courtney Fox
25. "The Gravel Page." The New Yorker 71:46 (29 January 1996), 44ff.
26. "Other Snows." The New Yorker 71:45 (22 January 1996), 90ff.
The article “Other Snows” is basically McPhee describing the winters in various places he has visited. Like in his article “In Virgin Forest”, the above mentioned one is very descriptive. It encourages the reader to imagine the scene he is describing, may it be a warm, untouched forest or a snowstorm in Chicago. He’s very specific about his locations in this article, something which I found a little hard to relate with. If the reader doesn’t have a clear idea of the place he is describing, it can be hard to picture just what he’s trying to convey. For example, for someone who has never been to New York will not understand what exactly happened when “Bud Palmer drop [ped] the long one-hander from the Ninth Avenue-and-Fiftieth corner of the Madison Square Garden”. However when he describes the scenes he encountered, he does a marvelous job of helping the reader experiencing exactly what he went through.
He often writes as if he is conversing with the audience about the topic he is writing about. This was proved in the line- “ …which for a hundred miles had ground valiantly into the deepening whiteness, was stopped- you guessed it- cold”. He has a knack for making the audience feel involved, a trick, I have noticed, not many other journalists use.
Unlike the usual journalistic articles, McPhee’s articles seem a lot more than just facts on a sheet of paper.- Devika Dadhe
27. "New Yorker Index 1992: Opening the Stacks." The New Yorker 69 (22 February 1993), 83ff. Described by Mackenzie Heckbert
This article, in a nutt-shell, has John McPhee talking about his own personal love for The New Yorker and open-stack libraries.
It was a refreshing article to read because it was ordinary (in a good way) and original at the same time. The article covered his own interests, and it was ironic because I was reading about his love for The New Yorker in The New Yorker. He began travelling back to his childhood where, he said, he would row out to the middle of the lake in a canoe and spend the afternoon sifting through The New Yorker.
The article also had a touch of familiarity and humour to it. McPhee spoke about open-stack libraries and how library goers, along with himself, can easily become captivated by the sea of books when you love to read, learn, and explore - "The book you know about has led you to others you did not know about." I took this to mean that going to a library for a book lover is like a child going into a toy store. The last sentence of this article made me chuckle, too: "Hey. You. If you're going to strew those magazines all over the floor, pick them up afterward." -- Jody McIntyre
28. "The Ransom of Russian Art." The New Yorker, 70:33 (17 October 1994), 78ff. Described by Alex Nowicki
29. "Irons in the Fire."The New Yorker 69:43 (20 December 1993), 94ff. Described by Jessica Marr As stupid as this sounds, while reading this article I could not help but be reminded of a story had read during my childhood. It was a Nancy Drew story where she was solving a mystery on a buffalo ranch. Anyways this McPhee article seems to be about the practice of branding cattle in Nevada. Cattle ranching is something I have little to no interest in, but McPhee was able to draw me into the story. The article seems like it is going to tell the story of the cattle ranchers who still hand brand their own cattle, instead of going with the more modern electronic branding. Having read this story straight from the source itself,The New Yorker, it adds a certain perspective that would have been lost had I been reading and html file for instance. For example McPhee gave descriptions of what some of the individual brands looked like. Because it was in The New Yorker there was also a picture to accompany the description. For someone who has a limited knowledge of cattle brands, this was extremely helpful. Also, the advertisements in The New Yorker helped to create a timeframe for when the article was written, because, in some cases McPhee’s writing can seeming feel timeless.-- Allyson Gorham
30. "Duty of Care ." The New Yorker 69:19 (28 June 1993) 72ff. - Described by Jody McIntyre, Mackenzie Heckbert, Joanne Goodall
As I began to read the article “Duty of Care” a few things struck me right away. A small description of what the article will be about. The first sentence reads “What do you do with two hundred and fifty million old tires?”. The first few lines of McPhee’s article talks about the environmental issue of having mountains of old tires. It talks about the changing nature surrounding the tires, and how it goes from gold to green as the seasons move forward, but that the tires always remain black. His description of the pile of tires from far away makes them seem small and insignificant but as he get’s closer the scene changes and it becomes more clear the environmental damage being done. I believe that this is supposed to signify the fact that every time something is done to harm nature, no matter how big or small it is still detrimental. The last section I read on the first page really struck me because McPhee talks about how the tires belong to every person in each different walk of life. They belong to tree huggers as well as “Litter-strewing rock-deafened ninja teen-aged nyrds” as he put it. McPhee is trying to show his readers that everyone takes part in causing environmental catastrophe.--Mackenzie Heckbert
31. "Water War." The New Yorker 69:10 (26 April 1993), 120ff. Described by Katrin MacPhee, Kayla Lawrence
This article starts off with an immense description of the Eastern Nevada Valleys. McPhee continues to explain the "saturated valleys and the landscape in which there is nothing taller than a "bunchgrass" Immediately I am reminded of the very first piece of McPhee's I ever read, "In Virgin Forest". The tired descriptions they never stop! I never thought I would get sick of someone explaining landscape before. Frankly McPhee, I'm over it. Finally he starts to interest me, he unravels the reason behind the description of the desert, the tells the reader that Las Vegas wants this "fossil" water. He tells the reader that even though Las Vegas is relatively far away from the underground water, money can buy anything.
As for the rest of the article, I think that McPhee will continue to write about consumerism. Specifically, how the business people of Las Vegas are changing the natural landscape by making man-made lakes and tourist attractions such as water parks. While I don't believe that he will state this blatantly he will hint at it. In the few articles of McPhee's that I have read I have noticed that he is not an obvious man, he prefers to suggest things subtly. - Dana Lineham
32. "Arthur Ashe Remembered." The New Yorker 69:2 (1 March 1993), 57ff. Described by Joline Gaudet This is an extremely short article (that is not environment-related) that highlights the life of tennis player, Arthur Ashe, who died from heart disease. As we know from reading "In Virgin Forest," John McPhee likes to use extensive detail, and it is true for this particular article as well. In such a short article, McPhee uses great detail to capture a lot of Arthur's life, both personal and on the tennis court. In fact, there was nothing in this article that was unnecessary. What I mean by that, is, the article immediately began by describing Ashe's personal life (personality, values, demeanor) and intertwined that with his life on the tennis court (skill, unpredectibility). He did not, whatsoever, use any useless information specifically for page filler. John McPhee cuts to the chase - no bullshit in between. And if you didn't know who Arthur Ashe was, that's okay, because McPhee can say so much by saying so little. To me, and probably to a lot of people, that is a skill that is hard to do. -- Jody McIntyre
33. "Remembering Mr. Shawn."The New Yorker (December 28 1992), 137 Described by Garrett Derrah
In this short article John McPhee is asked to make a comment regarding his former editor who has passed away. The way that McPhee writes about his deceased friend, and the times they shared is a vivid trip down memory lane, explaining some of the more renowned of their conversations. McPhee was very fond of this editor and you can feel it in his writings, the language used is very warm and you can sense the bond that they shared. Each of the writers of the New Yorker has an article dedicated to Shawn, editor of the magazine, and each of them share with the reader some of their experiences with Shawn.
There were many writers talking about Shawn in the magazine, however he didn’t seem to be the main focus. With so many writers I would think that he would at least have a bigger portion of the magazine dedicated to him rather than 4-5 pages.---Garrett Derrah
34."Annals of the Former World: Assembling California -- III." The New Yorker 68:31 (21 September 1992), 39ff.
This article went right over my head. Saturated with technical geological terms that only a geologist could understand, I would know my dad is one. In an odd way, the article kind of feels like a geologist writing a travel piece of the Napa Valley in California.
I expect that the rest of the article will follow suit, being almost impossibly dense with jargon and multiple references to rocks, YEAH! As to the purpose of the article, I think McPhee’s goal was just to paint a very difficult to understand portrait of California.
Something I found interesting in the article was the numerous comparisons McPhee drew between rocks and food. I think this might be to make the subject matter more digestible (pun intended) to readers who have no prior knowledge on rocks.
“Between the grinding lithospheric plates, the rock of this terrain was so pervasively sheared that a roadcut in metabasalt looks like green hamburger.” (New Yorker, 21 September 1992, p.39)
“Imagine – before plate tectonics – the aching problems that this fruitcake, this raisins-in-a-pudding kind of stuff, produced.” (New Yorker, 21 September 1992, p.39) -- Alex Nowicki
35. "Annals of the Former World: Assembling California -- II." The New Yorker 68:30 (14 September 1992), 44ff. Described by Andrew Bartlett,Emma Smith From the first page of this article, it seems McPhee has taken an interest in geology and befriended a man by the name of Eldridge Moores, from the University of California. It seems to be relatively close to the time when the theory of the tectonic plates was beginning to form. An attempt is made to relate the excitement of finding the same kind of rock in the desert as is found on the ocean floor. In what, I’m beginning to consider, characteristic of McPhee’s writing, he attempts to educate us in what has been going on in the world of geology and some of their discoveries.
This one doesn’t do it for me though. I guess knowing things like the discovery of whale like fossils in the desert and the fact that all the worlds’ continents were united in one massive continent called Pangaea, left these ideas feeling a little stale. It’s a pretty bold task to attempt to make geology interesting to the mass public, and I’m sure McPhee succeeds further on, but for me, tonight, it doesn’t really grab me. -Adam Hodnett
36. "Annals of the Former World: Assembling California -- I." The New Yorker 68:29 (7 September 1992), 36ff. Described by Evan Bower.
1. "Looking for a Ship, Part III." The New Yorker 66 (9 April 1990) 40-4. Described by Amy Lawson This story started as a profile about a sailor named Captain Paul Washburn. It begins by talking a about his life looking for work on ships, and about life while he sails. It also talks about his life at home with his wife, and how he is often away. When he comes home they argue about sports on television and he threatens to go back to sail.
In the beginning of this article the reader really gets the sense of who this guy is. He did not become a sailor because he wanted to, but because this is the only place some men often fit in. He is very passionate about sports, because it tells the story of a heated argument him and his wife got in over a Red Skins game. Much of the beginning of the article is about life on ship, which told me as the reader, being on a ship was the most important thing to Washburn. Being away sailing even causes him and his wife to bicker, but he still keeps her picture with him, as well as pictures of his daughters and grandchildren. Washburn is a great-grandfather, so this gave me the impression that he has seen a lot and probably has been through a lot. Much of what is written, sort of reminded me of my grumpy old grandfather. Here are some parts which stood out to me as a reader about this man’s character:
“We were bringing troops home. We were feeding the world. Hey when I was sailing, I sailed.”
“I couldn’t handle defeat like that,” he says. “I can’t now. I picked an argument with my wife. I remembered saying , ‘listen, woman, I don’t have to listen to this. I can go back to sea.’ She said, ‘listen, jackass, if you go back to sea, if you come back to this house it will be so empty it will look like no one ever lived in it.’ -- Brittany Douthwright
3. "Looking for a Ship, Part I."The New Yorker 66 (26 March 1990) 40-4. Described by Jessica Holt In the beginning ofLooking for a Ship, McPhee is staking out Ben Sawyer Bridge with Andy, as they wait for a boat to travel on with Andy’s National Shipping Card. Although I’m not sure what that card is, it seems to allow Andy to travel for free on shipping vessels. For Andy and John, this means free travel, and the two are discussing the possible locations they could end up in during the stories beginning paragraphs. Unlike In Virgin Forest, Ship opens with a light hearted approach, as Andy and John fear that Ben Sawyer Bridge will be drawn too long, and they won’t make it across in time to catch their ship. This story seems appealing in that its immediately upbeat and fun.-- Evan Bower
4. "Travels of the Rock." The New Yorker 66(26 February 1990) 108-17. Described by Jessica Bruce
After reading the first sentence of this McPhee piece I think that it will be descriptive writing about nature. “Plymouth Rock is a glacial erratic at rest in exotic terrane.” As I quickly read through the rest of the first page it talks about a rock that separates two locations. McPhee mentions that the rock represents the “irreversible rupture between England and the American colonies”. He also says that the “lower half was the Tory half, for it stayed behind, while the upper part was moved from the harborside to Liberty Pole Square for the specific purpose of stirring up lust for independence.” These two previous statements make me assume that he is using the rock as a metaphor, but I am just not 100 per cent clear on it yet. Later on McPhee says that the rock is “the oldest symbol of the New World was in dire need of a mason”, further backing up my suspicion of the rock symbolizing something deeper.
I can tell that this is McPhee writing because of the descriptive way in which he does so. Like “In Virgin Forest” I can visualize what he is talking about.
The biggest thing that struck me with my short reading of this first page, was the following statement:
They opened the grave of a child. 'About the legs and other parts of it was bound strings and bracelets of fine white beads; there was also by it a little bow, about three quarters long, and some other odd knacks. We brought sundry of the prettiest things away with us, and covered the corpse up again.' Before the sun had set four times, 'arrows came flying amoungst us.' I'm intrigued to read the rest of this article simply to figure out what he is talking about. -Deanna Gamble
5. "Rinard at Manheim." The New Yorker 65 (4 December 1989), 150-2. Described by Courtney Fox, Garrett Derrah We’re looking at an exotic car auction in this one, circa late 80’s, I suppose . This one looks a little different, from others I have read, style-wise. McPhee states that he’s “…a scout here. A consultant.” McPhee also plays with words quite a bit in the first section of this article – little puns. Fun to pick out. McPhee seems to be poking fun of the whole idea of the worth of exotic cars, while remaining inoffensive to the car buff. He also seems to be taking the attributes of certain cars and linking them to types of people. The Manheim auction is set in an area which has a population of Pennsylvania Dutch and Mennonites – the contrast of cars and buggies is noted. McPhee uses square brackets throughout, I suppose to interject interesting tidbits and side notes. – Rylan Kozak
6. "Los Angeles Against the Mountains -- II." The New Yorker 64 (3 October 1988), 72-90. Described by Jody McIntyre At the beginning of the article McPhee Mentions That decades ago along the floors of Los Angeles there were citrus trees everywhere. As each year went by, the number of citrus trees decreased, and the number of buildings, and condominiums on the land increased. Even after the majority of the trees on the flat ground had been cut down, many people started building homes and other building on the mountains as well. Mainly to avoid floods, and other damaging things that would have happened if they had built their home on flat ground. I think the basis of this article is trying to notify everyone about what they are actually doing to the environment. Not only have people cut down all the trees on the flat ground, they have made their way to the mountain too. When is going to be enough? Soon enough there will be more buildings then there are trees. Katelyn Clews
7. "Los Angeles Against the Mountains -- I." The New Yorker 64 (26 September 1988), 45-8. Described by Emma Smith, Deanna Gamble, Jessica Bruce, Brittany Douthwright2
8. "The Control of Nature: Cooling the Lava -- II." The New Yorker 64 (29 February 1988), 64ff. Described by Garrett Derrah , Katelyn ClewsKatelyn ClewsThis article is an explanation of a vast power that a part of Mother Nature has over the people who inhabit earth. This power is known as a volcano and is capable of destroying entire cities and the lives of countless families. The introduction shows the reader the incredible power the volcano holds and the attempts of the civilizations being impacted trying to fight this natural killer. The further parts of this article might continue the ongoing eruption of this particular volcano and the damages being caused. Also, it could go more in depth about the military measures that are being taken to subdue and prevent the lava and magma from spreading further. It might also explain how the people feel who are impacted by a volcano erupting. The article mentions that the people of these cities feel like they are always retreating. Sometimes fast and sometimes slow by there is never a time they can stop, relax and feel safety. Their sense of security and control has been altered by nature which is somewhat of a role reversal as people are usually the ones using and exploiting nature.- Jessica Holt
9. "The Control of Nature: Cooling the Lava -- I." The New Yorker 64 (22 February 1988), 43ff. Described by Garrett Derrah, Darcy Cameron
10. "Release." The New Yorker 63:32 (28 September 1987), 28-32. Described by Katrin MacPhee The article begins by introducing a “pure humanist whose spirit had prospered with the rise of technology”whose name is Robert Russell, and he is a professor at Franklin and Marshall College in Lancaster. He also is the chair of the English Department at one point, and is the author of several books and articles. McPhee lets him narrate the first part of this article, in which Russell describes how writing wasn’t a solitary affair when he used a typewriter, for when his mind wandered or he was interrupted, he could never remember what he had written last unless someone around reminded him where he had left off. Otherwise, he'd go ahead and hope for the best (we later find out why).
McPhee then takes back the stage, and to describes how Russell’s I.B.M PC is upgraded to the level of XT, and has a 20 megabyte hard drive. McPhee remarks aloud how there is a typo in the limerick typed out on Russell’s screen, and wonders how long it will take to correct it, and just as Russell hits F6 the computer begins to talk in a strange, disconnected, extraterrestrial tone. Just by listening to the computer’s strange dialect-like recitation of the words on the screen, Russell realizes he had forgotten to put a “d” to the word “owned”. McPhee goes on to give us the details and various options of this machine’s ability to talk, which was controlled by hitting different keys for different things, and a description of Russell’s physical and mental demeanor. McPhee writes about Russell’s blindness and all the things he accomplished without his vision in such a delicate and admiring way, that it seems almost poetic.-Andréa Peters.
11. "Atchafalaya." The New Yorker 63 (23 February 1987), 39-44. Described by Brittany Douthwright, Jessica Marr, Shannon Billings, Katelyn Clews, Joline Gaudet, Ianic Roy Richard, Kayla Lawrence"Atchafalaya" by John McPhee is about a river; McPhee explains how there is a strange relationship between a river and “adjacent terrain”. Throughout this article the river is examined and McPhee writes about the geographical order. Two men are described one being the narrator, and the other called the “Lockmaster” his real name being Norris F.Rabalais, McPhee uses colours to explain certain aspects of what they are wearing. The Lockmaster is discussing navigation locks and how they were used to lower ships. The narrator is telling his story of when he first met Rabalais, he discusses how there was no such thing as a navigation lock when he was a child. He explains how a navigation lock was used to lower ships from the Mississippi and how “water just poured out, boats with it, and flowed on into a distributary waterscape known as Atchafalaya” (1). Throughout this article one grasps the strong meaning of nature, how McPhee presents the image throughout is very descriptive, diverse and full of knowledge. Throughout the article readers comes to the realization how man destructs nature once again.--Kayla Lawrence
12. "Rising From the Plains -- III." The New Yorker 62 (10 March 1986), 70-82.
13. "Rising From the Plains -- II." The New Yorker 62 (3 March 1986) 41-2. Described by Jessica Holt I wish I could be as enthusiastic about the second read, however. I didn't care too much about the Plains because it used words I couldn't skim over and still understand the story. McPhee tries to put familiarity with some of the terms cowboys used to describe everyday items but I became lost. As well, for someone like me who likes good description, found this article to be over burdened with it. I don't know- it is the second part of the series, maybe I had to read the first part to understand the significance of the way McPhee is talking. But that isn't true either, in a sense, because I think it's neat that McPhee is writing in a way that makes him sound like he's Eastwood in a western but I just became lost as a reader.-Joanne Goodall
14. "Rising From the Plains -- I." The New Yorker 62 (24 February 1986), 38-42. Described by Courtney Fox This article is exceptionally different from other profiles I have read. McPhee is not only profiling the geology of the land near Rawlings, Wyoming but also a woman who he's depicts as a regional geologist. He then contradicts him self saying she is not a geologist in any sense of the form. The contradiction seams confusing but also intriguing and makes me as the reader want to continue to see where he is going with his point. He spends half the first page of the article detailing this woman with great effort. With details that would otherwise seam useless like her ability to to speak Latin and Greek; but that is what makes the work of McPhee so interesting the seemingly unimportant details are the ones the are keeping the reader interested. It gives you a personal connection to the woman which draws you in. The other half of the opening page is spent detailing Rwalings. Which seams strange but McPhee manages to give his descriptions of a landscape and place and almost personal feel. it makes a landscape scene more interesting and makes it seam like it has more value and importance to the setting of the story than just filler or a place for it to take place. I think McPhee did a grate job at capturing interesting the first several hundred word of this piece. It is very interesting. -- Candice Whitman
15. "Heirs of General Practice."The New Yorker (23 July 1984), 40-85. Described by Deanna Gamble This article talks about young people who have decided to enroll in the medical profession. The article starts off with a woman named, “Ann Dorney”. This part of the piece leads you to believe that the article will be solely about her until you remember the ‘s’ at the end of Heirs. McPhee tells the stories of these people from their interest shown in the profession in their younger years to their current situation in the medical field. I liked this article because it was easy to read. This is something that more people will find interesting compared to something like a canoe. I’m however unsure about the later part of the article. When reading the first bit of it I didn’t really see a point or a conclusion that would emerge by talking about these people lives. After McPhee describes the physicians’ lives to us, what is next? How does this article end exactly? What is McPhee trying to achieve by describing these doctors succession into this field? The way this is written makes you want to know more about the message McPhee is trying to communicate to us. Acey Outerbridge
16. "Our Far-Flung Correspondents: Open Man."The New Yorker 59 (10 October 1983), 108 ff. This article was published in New Yorker magazine, between an article about Konrad Adenaur, the first chancelor of the Federal Republic of Germany and his experiences before, during and after World War Two, advertisements for new-fangled telephones, car ads, and an article about the relationship between energy and the economy. The first page of the article describes New Jersey’s senior U.S. senator, Bill Bradley’s (former New York Knicks’ player) meeting with the public on the boardwalk of Seaside Heights, NJ. McPhee gives the impression of having followed the senator down the boardwalk while he is greeting the public and answering their questions about everything from military bases in the Philippines to basketball, pay raises for teachers and car insurance prices. It seems as if the article will continue on as a profile of the senator, covering everything from his policies to his eating habits. My initial reaction to the beginning of the piece was that I liked how, as we met Bill, we were simultaneously introduced to how the public views him. In this way, we don’t just receive McPhee’s take on him, but that of the average person. -Katrin MacPhee
17. "Riding the Boom Extension." The New Yorker (4 August 1980) 36-48.
I found this one, not in a copy of the New Yorker but rather a stand alone booklet in the library. It said on the last page of the book that only 150 copies of it had been printed and each one of them was hand signed by John McPhee himself.
The article itself is about some guys that drove from Texas all the way Circle City, Alaska in order to participate in the Gold Rush that was going on there. The first few pages that I leafed through detailed the history of Circle City, from a largely populated cabin village with as many whorehouses as saloons to a small settlement that had had most of its cabins swallowed by the nearby Yukon River. In the article, McPhee presents the miners, who were his interview subjects as charaters within a story. They have dialogue and the article itself is written much as a short story would be written. --Ianic Roy Richard
18. "Annals of the Former World - II." The New Yorker (27 October 1980), 57-155.
McPhee begins his article by desribing the coordinations to a location. Not knowing much about Latitude/Longitude I began this article with slight hesitation. Eventually after all that suspense we end up at the George Washington Bridge at 9 am. McPhee begins to describe the rush of traffic and suddenly we are introduced to Karen Kleinspehn. McPhee creates a wonderful image of this women by describing her in detail, which gave me a mental image of her "Long bright Norwegian Hair". Karen is a Geologist, one trying to work on a large rock which seems to me to be on the side of the road. I'm only assuming this because McPhee said that she needed to "shout to be heard" so the chaos of the traffic must be near. After reading one page I am going to make the assumption that McPhee is going to tell a further story of this rock and a little more about what Karen is looking for. - Jessica Bruce
19. "Annals of the Former World - I." The New Yorker (20 October 1980), 58-136. Described by Jessica Bruce
That's more like it. Johnny is back to his old tricks talking about nature but this time the topic has changed from trees to rocks. Huge rocks we call tectonic plates. Mcphee describes the effects of their movements by notifying the reader of physical geographical changes happening over the course of 50 lifetimes. It is intereseting to know that cracks are begginning to form in America that will not only last forever, but eventually tear the vast country apart. If he likes writing about mankinds negative effect on nature, he must love writing about an unstoppable force that will slowly but surely tear the world we worked so hard to control apart.- Kevin Williams
20. "Brigade de Cuisine." The New Yorker (19 February 1979), 43 ff. Described by Andréa Peters “Brigade de Cuisine” profiles a restaurant that is near New York City. This piece opens differently than other articles by John McPhee. McPhee writes in the first person, and places himself in the kitchen of a restaurant. He immediately positions himself close to the chef of the restaurant, and not only do we get an idea of who the chef is, but also who John McPhee is. There is a sense of closeness between the writer and the subject in this article. McPhee describes the process of observation, and we get a better idea of how McPhee operates as a journalist.--Emma Smith
21. "A Reporter at Large: Giving Good Weight."The New Yorker 54 (3 July 1978), 36-8+.
There's no introduction. The voice starts right in, the voice of a farmer, maybe, bringing produce into New York. "You people," he says, "come into the market -- the Greenmarket, in the open air under the downpouring sun -- and you slit the tomatoes with your fingernails." The whole of the first page of the article sets up this voice, over against the city folks, who come off as suspicious and surprised. You can't tell from this where it's going, but it's full of delicious details about what people say, what they buy, and what's for sale. -- Russ Hunt
22. "A Reporter at Large: The Encircled River - II." The New Yorker 53 (9 May 1977). 88ff.
Because this article is, as far as I can tell, part of a series of articles, (and especially because it's the second part of an already-started article), I found it pretty confusing. As far as I can tell, McPhee is writing about traveling through Alaska as part of a "study team", to reach a particular river that could potentially become a National park. This particular river is only a small part of over eighty million acres of land that are being considered for wildlife refuges in Alaska. As usual, McPhee's writing style is descriptive and full of imagery, which made this(the first page, at least) an interesting read for me, despite my overall confusion about what he's actually talking about.--Joline Gaudet
23. "A Reporter at Large: The Encircled River - I." The New Yorker 53 (2 May 1977), 47-8ff. Described by Katelyn Mokler, Devika Dadhe This article seems to be about the salmon flow and the trouble that could come up if they are unable to fallow their normal travel path up the river. I am getting the idea that their path may become blocked because of a dame or some human made obstacle that is now in their way. If that is the case, it would seem that McPhee is trying to show the dangers that can come up if the natural course of events in nature cannot happen. This is especially true for salmon that travel down the same rivers they were born in to go and lay their eggs for the fallowing season. If they can’t get to their original breeding spot, many will die trying and the salmon numbers could possible go down from the low numbers they are at right now. Andrew Bartlett
24. "A Reporter at Large: Coming into the Country - IV." The New Yorker 53 (11 July 1977), 30-40ff.
25. "A Reporter at Large: Coming into the Country - III." The New Yorker 53 (4 July 1977), 33-6ff.
The article begins by McPhee describing a man growing up in rural setting. Within this setting, this man (Stanley) had to resort to non-typical things such as playing with engines and car parts. Seeing how Stanley did not have any friends that he could interact with, he was left for doing mechanical work, in which he taught himself. Right from the get go, I am interested to see where this story will take me. I enjoy stories that get right to the point and describe characteristics of individuals within the story. It also, very early on, talked about his interests and his location which only leads readers to imagine what will happen next in the story. I feel that this story may later describe that with all of his free time, Stanley either invented something, or did something heroic that had influence on a lot of people. I got the feeling that because he grew up in pretty near solidarity, that his later life would have a huge impact or influence on others. --Matt McGrath
26. "A Reporter at Large: Coming into the Country - II." The New Yorker 53 (27 June 1977), 58 . Described by Adam Hodnett
In "A Reporter at Large: Coming into the Country – II”, McPhee writes about a couple- Brad Snow and Lily Allen- who have moved out of the city and into the country. He describes their way of living, the difficulties they face and the things they find joy in. One thing about McPhee’s writing that impressed me is his knack to keep the reader interested in the story. I started reading thinking ‘I’m only supposed to read two pages, not too bad’, and ended up reading the entire article since I found it so interesting. He places the right details and quotes at the right places, making the reader feel what he thought and felt at the time. He presents facts, and not his interpretation of a person or a situation, in a way that appeal to the readers. This, I found, is different from the usual journalism- writing with open eyes and a closed mind. - Devika Dadhe
27. "A Reporter at Large: Coming into the Country - I." The New Yorker 53 (20 June 1977), 43ff. Described by Katelyn Clews This article seemed pretty interesting, at least based on the first page that I read. McPhee introduces us to a woman named Donna Kneeland who, in 1975, gave up her fast-paced life in the big city of Edmonton Alberta and moved into the Alaskan wilderness, living a life of virtual isolation in the woods and living almost entirely off the land. The closest thing to “civilization” that she has access to is a little town about 20 miles away called Eagle which, as McPhee tells us, is “a community whose population has expanded in recent years and now exceeds 100,” so that gives us a good sense of just how isolated she is out there. That’s about as far as I read, but it did seem very interesting, and I also responded to the weird humour in McPhee’s writing style. When describing her living conditions, for example, he says “her copy of The Joy of Cooking previously belonged to a trapper’s wife who froze to death.” I found that to be an oddly amusing piece of information. I also enjoyed the sense of irony I got from the fact that an article like this appeared in The New Yorker, which seems aimed more at snooty city folks. -- Darcy Cameron
28. "A Reporter at Large: The Keel of Lake Dickey." The New Yorker 52 (3 May 1976), 43-48ff.Described by Jessica Holt
This article by McPhee is telling a story about The St.John river. He starts off by describing the surroundings, the weather conditions and how long he has been in the wilderness. He again mentions forests in this passage as he states "small and intimate fores river, something like the Allagash, which is not many miles away." As I was reading this I am unsure of what river he is talking about. When I think of the St.John River I think of the main river that flows through New Brunswick, and I have never heard of Allagash before, so my question is , where is this place he is in? The article is very descriptive and interesting to read, I'm just not sure where he is coming from. He also mentions people he has met along the way, on his journey down this river. For instance he says "John Kauffmann, in the stern of a read Royalex canoe, has come from Alaska to go down the St.John". Near the end of the first page of this article he compares this river to other rivers in Canada and the United States. Therefore I think the rest of this article is going to explain and describe nature in various places in the North American regions, paying special attention to rivers and forests. -Jessica Marr-
29. "A Reporter at Large: What They Were Hunting For - II." The New Yorker 52 (4 October 1976), 40-6ff. Described by Alex Nowicki This article tells the story of two men, Dick Harris and Joe Juneau and their time spent gold mining in Alaska. At least that is what I gather from reading the first few hundred words. McPhee seemingly makes Harris and Juneau out to be these bumbling losers. This is interesting because both men died long before McPhee was even born. So I am assuming that McPhee is basing their descriptions off of things that he has read. This story seems to be going to tell the story of these two prospectors and their time spent in Alaska, but with McPhee one can never be sure. Like the other article reading the story from the physical copy ofThe New Yorker does seem to make a difference in the way that the reader understands the story. In this particular story there were some of the regular cartoons that The New Yorker was famous for. --Allyson Gorham
30. "A Reporter at Large: What They Were Hunting For - I." The New Yorker 52 (27 September 1976), 80-82ff.
This report is on the capital of Alaska and how nature and time have dictated the need for a change in capital. This is expressed through urban slang and colloquialisms that can be found hidden in lines scattered among various paragraphs with words like "megahedron", "doming" and "pluming;" a megahedron is a fantastic geometric shape. If you have ever heard the expression a picture is worth a thousand words, google earth Alaska and look at the photos because John Mcphee was right on with the new words and how he uses them to express the mountainous wonderland. This place is a beautiful site from a cruise ship and I can only imagine what they were looking at from the plane, as they flew over these towering ice sculptures. It would be a necessity to point out the pun directed at the bears grazing in the meadows. The helicopter ignored them on a hunt for a new capital. Amy Lawson
31. "Our local correspondents: The Pinball Philosophy." The New Yorker 52 (30 June 1975), 81-3ff. Described by Allyson Gorham
32. "The Forager." The New York Times (10 January 1976), 25.
33. "A Reporter at Large: The Atlantic Generating Station." The New Yorker 51 (12 May 1975), 51-2ff. Described by Adam Hodnett In this article John McPhee is reporting on a dilemma that befell New Jersey in the 1960’s when the state realised that the current supply of energy would not cover the demand. Given that all the potential areas to build these power plants were already used for power plants, and the fact that New Jersey does not have enough space for more this became a potential problem for the near future if something was not done. One suggested solution was a mobile nuclear power plant. This idea was envisioned by Richard Eckert, a Public Service Engineer, whilst in the shower. With the increasing demand for energy and the decreasing resources, Eckert believed that he would eliminate the need of such resources as land by moving the operation onto the Atlantic Ocean. With these mobile nuclear power plants, Eckert thought, he would be able to move them to any location that required the use of such a plant.
In My opinion this seems like an environmental disaster waiting to happen. I’m not convinced no matter how well they think they can build such a thing, and how well they’ll take precautions. I’m glad this never made it off the ground. Whether or not McPhee shared my opinion on the subject, McPhee still wrote with a very refined structure, and goes into incredible depth regardless of his emotions.---Garrett Derrah
34. "A Reporter at Large: Survival of the Bark Canoe -- II."The New Yorker 51 (3 Mr 1975), 41-8ff. Described by Katrin MacPhee
Much like “In Virgin Forest”, this article starts with a history portrait, more specifically, the history of the Native American Birch canoe.
Focusing on the fur trade in early Canada, and how immensely useful the bark canoe was during this time, McPhee seems to be gearing towards the increasing loss of Native American traditions and skills, including the fabrication of the birch canoe.
The article so far is mostly devoid of subjective passages, there are, however a few that help remind us that McPhee, the person, is telling us the story and not some disembodied narrator.
“Canadians red and white were developing warm interracial relationships bonded by a business that was conducted to the advantage of all. All but the beaver.” (New Yorker, 3 March 1975, p.41)
John McPhee describes a lot of interesting historical titbits about the history and geography in Canada. For example, one can cross the entirety of Canada with a canoe, and the longest portage (carrying the canoe instead of driving it) is only thirteen miles.
As for the context of the article, it was written during the presidency of Henry Ford. The year is 1975. -- Alex Nowicki
35. "A Reporter at Large: Survival of the Bark Canoe - I." The New Yorker 51 (24 February 1975), 49-50ff.
In the first page of this article we are introduced to Henri Vaillancourt.A young man of 24 who has already made over 30 birch bark canoes in an obsession that began when he was fifteen.
The first paragraph sets us up with a rough idea of who Henri is.An extremely confident, determined, self reliant man.He makes loose plans to uncertain locations with equipment made on his own, and would be upset if it were any other way.
We then get an idea of what attracted Henri to the art of canoe building and are reminded how few people are left practicing the skill. McPhee effectively expresses Henri's dedication and, without being directly told, we sense that he is probably the master of the art.
John McPhee then goes on to educate us. He is clearly a good interviewer and researcher. We're told of Edwin Tappan Adney, the man who wrote the book that Henri learned from, and we get a few key details of Edwin's biography. Enough to get us interested but still satisfying enough to keep us receptive to the what follows.
We then learn about the different kinds of canoes and a bit about the natives who used them. Unfortunately,I can't really tell how well written this is because I have recently been extremely interested in canoes. For me, it was fascinating. That's part of what I'm liking about John McPhee though. He seems to write in a way that gets at my personal interests in some way or other. Perhaps it's his intuitive understanding of what people find interesting that makes him a good writer. Although, I would have never thought that a story on a man building canoes would be so immediately interesting. He's also very good at finding, and describing, interesting characters.
-Adam Hodnett
36. "Ruidoso." The New Yorker (29 April 1974), 83-112.
1. "Firewood." The New Yorker 50 (25 March 1974), 81-2ff. Described by Joanne Goodall, Andrew Bartlett This article stands up to its title, being about firewood. McPhee begins by talking about the prices of firewood. He begins the article with this sentence:
“Firewood has been selling, of late in New York city, for one dollar a stick.”
Keeping in mind this article was written in the 70’s, it is pretty interesting to know little facts like this one. It also really surprised me that people needed wood in New York City. I have been to New York, and really, it is the last place you would think people need wood.
In this article the most noticeable factor was how short McPhee’s sentences are. Here are some examples:
“Piles of it. Right off the sidewalk. Split from small logs to of oak, or ash or maple. Split. Split again.”
Another interesting thing I noticed about this article was the McPhee’s sense of humour. Here are some examples:
“One woman called the foresters and asked if a cord of wood could fit into her pinto. A cord of wood and a Pinto are about the same size.”
“One man said he had an electric chain saw and he wondered if there were electrical outlets in the forest. Another asked if there were toilet facilities close to the trees.” -- Brittany Douthwright
2. "The Curve of Binding Energy - III."The New Yorker (17 December 1973), 60-97. Described by Amy Lawson
This article is about Ted Taylor is about his life at General Atomic Civilian Laboratories’, making creative use of nuclear energy. It seems to be explaining the life of Ted Taylor and his wife, who ends up bearing the responsibility around the house, and her husband walks around thinking in a “metaphysical disappearance.” This article might achieve to find a solution to get heavy equipment into space and do this as cheaply as possible. My first reaction was this man might be a little nutty but he’s got some pretty big ideas rolling around in his head. This article has two comics one is a son and his father and they are sitting in a chair watching tv. The dad says “yes son anyone can be an anchor man.” The next comic is a woman who just finished watering her plants. The plants are poised in an animated stance and it appears they are saying “I thought she’d never shut up.”Amy Lawson
3. "The Curve of Binding Energy - II." The New Yorker (10 December 1973), 50-108.
4. "The Curve of Binding Energy - I." The New Yorker (3 December 1973), 54-145. Described by Emma Smith
From the beginning of this reading I assume that it will be about nuclear energy, however reading further into it I think it's going to have a focus on nuclear bombs. McPhee is contemplating what it will take for the world to wake up and rid itself of the dangers of nuclear bombing. McPhee is quoting a chemist by the name of Theodore B. Taylor, that strongly believes the dangers of nuclear bombing is exaggerated. This chemist argues some pretty radical ideas that I am not necessarily sure that I agree with, however, I read on. I do feel compelled to read on in this article, just simply because it begins with such a bizarre tone. -Deanna Gamble
5. "Profiles: Travels in Georgia." The New Yorker 49 (28 April 1973) 44-6ff. Described by Joline GaudetDescribed by Andréa
Beginning with a brief description of breakfast at some family home, then hopping the car with the two locals. Someone ahead of them had a run in with a big snapping turtle. As they come across the “D.O.R.” they stop to lend a hand to the suffering creature. Seeing the commotion, some interesting locals also stop to add their two-cents, bringing some humor to the situation. McPhee notes on the odd group of people in company. Various levels of worldly smarts seem to be a theme in the piece. The Sherriff ain’t seemin’ so smart – a gun-toter with bad aim. I can’t see where this is going other than a look at the personal, day-to-day life of folks down in Georgia. – Rylan Kozak
6. "The Deltoid Pumpkin Seed - III." The New Yorker (24 February 1973), 48.79.
The Deltoid Pumpkin seed is about the creation of airships, and their effect on the environment. What these airships do is carry tons and tons of cargo from place to place, over mountains and oceans, saving trucks and boats from having to make the same trip several times. I’m not completely sure what McPhee is getting at here, but it seems to me that the development of these airships, are saving time, money, and the environment. By reducing the involvement of trucks and boats and other modes of transportation, they are eliminating pollution. Katelyn Clews
7. "The Deltoid Pumpkin Seed - II." The New Yorker (17 February 1973), 42-77.
8. "The Deltoid Pumpkin Seed - I." The New Yorker (10 February 1973) 40-73.
In this article McPhee is explaining the development of a new type of airship that will be the ultimate way to transport goods around the world. It is not like a plane but a huge wingless airship that moves slowly through the air. The purpose of the title is that the airship will look like a pumpkin seed. I believe that the rest of this article will discuss in more detail the purpose of this new airship and also the work that will have to be done in order to make this possible. The company responsible for this new airship is called Aereons. Perhaps the article will talk about the possible investors in something new like this and the possible problems that could arise with this new invention. It will tell the story of how the company was able to proceed in creating such a new and innovative product. I am not sure if McPhee will contribute his own personal views in the article or just simply explain this story.--Jessica Holt
9. "A Reporter at Large: The Search for Marvin Gardens." The New Yorker 48 (9 September 1972), 45-6ff.
10. "Profiles: Ranger." The New Yorker 47 (11 September 1971), 45-8ff.
11. "Centre Court." Playboy (June 1971), 102-104, 246, 248, 250. “Centre Court” by John McPhee begins with a tennis player trying to achieve a comeback. Throughout this article McPhee examines an intense tennis match paying close attention to every move; he shows interest in the players, their personal appearance, techniques etc. McPhee discusses Wimbledon using descriptive words to present the beauty of this tennis court such as “the green canvas fences, the beds of climbing roses, the ivy-covered walls and at the top of the ball’s parabola, it hangs for an instant in the sky against a background of half timbered houses among plane trees”( McPhee, 104). Throughout this article it shows that McPhee is very intrigued by the game tennis as well it shows McPhee did a lot of prep work before essentially writing the article for he mentions a range of facts about the players discussed throughout as well McPhee seems to be very involved--Kayla Lawrence
12. "Profiles: Encounters With the Archdruid III: A River." The New Yorker 47 (3 April 1971), 41ff. Described by Courtney Fox
Within the first page of the article, McPhee introduces the reader to Floyd Elgin Dominy. He is clearly going to be a prominent subject throughout the article as McPhee describes him in great detail, explaining his features, where he grew up and where he worked. The key element of doing this, however, seems to be that McPhee is setting up the subject of the article—the lack of water in North-eastern Wyoming and the problems it presents; essentially how the people within this community are destitute. It seems that McPhee will probably discuss this problem in further detail and why it is happening; why does east of the hundredth meridian have an abundance of water and irrigation systems and the west have severe drought? It is kind of interesting to see this article amongst the advertisements in The New Yorker. McPhee’s article demonstrates a severe problem in the world, and beside it is an advertisement for Dolce & Gabbana. -- Katelyn Mokler
15. "Reading the River." The New Yorker (21 March 1970), 126-123.
This article opens up with ramblings about canoes. McPhee describes what he thought a “canoe” was in great detail and the article continues with him talking about sleeping under canoes when he was younger and descriptions of different canoes. The article is fairly descriptive and can get boring at times. (Canoes aren’t all that interesting) Mcphee’s detail is surprising because he chose to talk about something as simple as a canoe. If you were to ask someone, “What is a canoe?” or “What does a canoe look like” many would simply say something along the lines of, “A hollowed out shape” or “A boat”. Canoe’s are very ‘simple looking’ and it was interesting to see him pull so much out of something so mediocre. Just from reading the earlier parts of this you can tell he’s really into these canoes. The article doesn’t seem to easily fit into “The New Yorker” because from what I read, it doesn’t have much to do with sports. From what I see just by glancing through the different pages, most of it is about fashion or high society kinds of things. I expect the part of the article I didn’t read to continue his talk about Canoes and more stories of his experiences with them. Acey Outerbridge -
16. "Our Far-Flung Correspondents: From Birnam Wood to Dunsinane." The New Yorker 46 (10 October 1970), 141ff.
17. "The Island of the Crofter and the Laird - II." The New Yorker (13 December 1969), 61-112.
18. "The Island of the Crofter and the Laird - I." The New Yorker (6 December 1969), 69-165.
The article begins with McPhee discussing the MacDonald’s of Scotland and how they were, I’m guessing…his potential relatives. Next he begins to discuss the neighbouring clans of the MacLean’s who capture the chief of the MacDonald’s and shoots him in the head with an arrow. McPhee is very descriptive when he is discussing the Scottish rapid weather shift “ Calm to wind driven”. He begins to give us a depiction of the Scottish islands and again he continues with his descriptive depiction “ When the ocean is blue the air is pure as a lens and the other islands seem imminent and almost encroaching”. He began naming locations of Scottish Islands and here he began to lose me. I began skipping over the next couple lines because I had no idea where he was talking about and I almost was annoyed at the way he was ranting about them. I always felt like I got back into the article when he began discussing the clans because they peaked my interest and I wanted to learn more. I felt the tension between the MacDonald’s and the MacLean’s and what seems to be there on going feud. I’m assuming that the rest of the article may tell a more in-depth story of each clan and how they became enemies and who prevails, fails and so forth. Jessica Bruce
19. "Levels of the Game - II." The New Yorker (14 June 1969) 44-81
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20. "Levels of the Game - I." The New Yorker (7 June 1969) 45-111. Described by Brittany Douthwright
McPhee’s article, “Levels of the Game –I” appears in the Profiles section of the New Yorker. It is a long piece that continues throughout the magazine. It is the first substantial piece of writing in the magazine, as others are short stories in Talk of the Town. The opening part of “Levels of the Game-I” begins in the middle of a tennis match between Arthur Ashe and Clark Graebner. McPhee describes Arthur Ashe in intricate detail. His every movement of throwing the ball up and swinging in his serve is written down. McPhee sets up these two opponents, and the reader immediately gets to know each of them, just by their style of tennis. The profile continues, and is interspersed amidst the famous New Yorker cartoons, poetry and advertisements.-- Emma Smith
21. "Profiles: A Forager." The New Yorker 44 (6 April 1968), 45-50ff. **Described by Amy Lawson** This article is all about foraging the earth for edible plants, roots and nuts. Evell Theophilus Gibbons has gained recognition for being able to survive off the land and he has written a few books on North American and foraging the land from Rio Grande to the Arctic Circle. Amy Lawson.
22. "Profiles: The Lawns of Wimbledon." The New Yorker 44 (22 June 1968), 32-57.
23. "Templex." The New Yorker (6 January 1968), 32-67. Described by Brittany Douthwright The Article “Templex” seems to be about a travel writer who publishes articles on the best places to stay around the world. He writes about one place that he thought was one of the best in the world until tragedy struck and now he is in an investigation into what happened and if things have been fixed. You can’t really tell what has truly happened in this small town because you are not given enough information. All that you know is that something so bad has happened and all the people have become ill. I expect that the travel guide will go explore what is taking place because he seems to be a very into exploration of the unknown. With all the experience he is supposed to have about this town because of being there a few times it seems like he would be able to understand what has happened and if things have gotten better, so that his readers will feel safe if they went to this town. The reaction this short look at the story is that I don’t know what will happen to this man or the ill people in the future because I have not read enough of the story to know what will happen next. Andrew Bartlett
24. "Profiles: The Pine Barrens - II."The New Yorker 43 (2 December 1967), 66-8ff. Described by Brittany Douthwright
This article begins by describing one of the stereotypes of New Jersey. Where most people believe that NJ consists purely of “suburban industrialization,” there is actually plenty of “vast rocky and glaciated farm country.” These are areas where there is an abundance of lakes, forests and wildlife. There are large forests consisting of pine trees, which McPhee refers to as the “Pine Barrens.” The Pine Barrens cover almost a fourth of the state. He is worried about the preservation and wellbeing of these forests, as they are located directly in the middle of lands that are currently being commercially developed. He then begins to talk about a small town named “Chatsworth” which is located near the Pine Barrens. He goes into great detail about the town itself and its people. He explains how the majority of the people of Chatsworth earn a living, and what types of businesses are located in this town.I think that later on in the article McPhee will try to determine what kind of impact the Pine Barrens being demolished would have on these town folk. If at some point the forest is cut down to develop land, there would be major consequences and loss of jobs to those who make a living working in the forestry industry. – Courtney Fox
25. "Profiles: The Pine Barrens - I." The New Yorker 43 (25 November 1967), 67-8ff. Described by Matt McGrathDescribed by Emma Smith The beginning of this piece written by McPhee reminds me a lot of another one of his pieces, "The Virgin Forest". It begins with a lot of deep descriptions of different types of tree that I am unfamiliar with. Although the details are superb, it is hard to imagine what he is describing because I do not know what a lot of the trees he is talking about look like. The landscape in which he is describing is in New Jersey, and it is clear that he is trying to change people's common misconception of New Jersey as just a city by bringing out the overseen beauty of the forests. I have no idea where this story might be headed, for I have not read very far into it. I am hoping that it does not break into a history lesson as it did in "The Virgin Forest". There appears to be more then one edition of "The Pine Barrens" which leads me to believe that there may be more of a story line. I am excited to read on and discover what this story has to offer. --Matt McGrath
26. "A Reporter at Large: Fifty-two People on a Continent." The New Yorker 42 (5 March 1966), 101-2ff.
27. "A Reporter at Large: Oranges - II." The New Yorker 42 (14 May 1966), 144ff. Described By Ianic Roy Richard
Having just finished an introduction to a McPhee article that really intrigued me, I found this one to be rather dull by comparison. This seemed more like the McPhee that I was expecting after reading In Virgin Forest – very descriptive, trailing off on tangents every now and then, and filled with references that very few people would likely understand. We get a pretty clear and descriptive sense of what it’s like to be in a big orange grove in Florida, and we also get what seems almost like a history lesson in fruit and citrus. Maybe he’s building to something more intriguing or profound, but based on the first page I’m not sure where he is going with this, or that I am really dying to find out. Is citrus really that interesting? -- Darcy Cameron
28. "A Reporter at Large: Oranges - I." The New Yorker 42 (7 May 1966), 142ff. Described by Joanne Goodall
This article by McPhee, is very different than any other magazine article I have ever read. In this article he is talking about oranges and orange juice in relation to culture diversity. He explains and describes where oranges grow around the world, the different types of oranges and what they mean to the people in different cultures and what they represent. I learned a lot about different countries and their diverse cultures in relation to oranges. Who eats them, how they eat them, where they grow and so on. For example one quote from this article states “ People in Nepal almost never peel oranges, preferring to eat them in cut quarters, the way American athletes do.” In Australia, children peel the orange down and eat it as if it were an ice cream cone. So many facts were packed into this one page article, I would love to keep reading on to see what else McPhee has to say about these interesting and diverse fruit of oranges. He is very descriptive about the oranges, I could visualize what they look and in some cases what they would taste like. He explained that in some countries, there are different uses for oranges other than eating. For instance; in Jamaica the women there cut an orange in half and put both halves in their hands and clean the floors with the halves of the oranges. Neat tidbit of info! Overall I found this piece by McPhee, very informative, descriptive, interesting and different. ~Jessica Marr~
30. "A Sense of Where You Are."The New Yorker 40 (23 January 1965) 42ff. Described by Deanna Gamble, Ianic Roy Richard was thoroughly fascinated with this issue of the magazine as it was from the late sixties. The advertisements were old style yet were promoting the same products that magazines do today. Unlike the later editions I looked at this had a much simpler index, so I had to go looking for the article.I finally find the article, and it is a profile on William Warren Bradely. I quickly flip through the pages to discover it takes up the majority of the magazine issue. Bradely was an amateur basketball star. He was also a prestigious academic student who went to Princeton University. He comes from a wealthy background but was offered many scholarships to many great schools for his basketball abilities. He chose Princeton University even though they did not offer him a scholarship and as McPhee described at the beginning of the article a very poor quality gymnasium. Bradely was a basketball player from the start. McPhee explains that “his environment was limited to home, gym, and playground”. It was almost as if his career path was chosen for him. His career was fantastic too, he was offered many spots on the NBA and won gold medals at the Tokyo Olympic Games. I believe McPhee will go on more to tell of Bradely’s life beyond basketball. All of McPhee’s articles so far seem to have something to do with nature and the importance of preserving it. --Mackenzie Heckbert
31. "Basketball and Beefeaters."The New Yorker (16 March 1963) 186-194. Described by Kayla Lawrence**
This article is about Mr. McPhee and his time on the Cambridge Basketball team in the 1950's. The article is about a tale he once told to a man with similar experiences in the game of basketball. He starts off by telling the reader about how basketball courts used to be, dark, and awkward in places where basketball games shouldn't be played. He explains that while those courts back in the day were less than adequate for the game, the new courts with their shiny surfaces are "boring". McPhee claims that the new courts don't allow for the same epic stories, such as the old ones did, in a sense they are too perfect. McPhee starts telling the epic tale of his basketball game, held at the Tower of London (which he admits to being a lie), and then changes gears to explain to the reader how he got to playing basketball in London in the first place.
The first page (350 words or so) in which i read seem to be in a humorous tone. While he is not making a joke, his writing makes the reader smile, as well, as you can imagine, the man he is telling the tale to. As for the rest of the article, I can envision he continues on with his tale in which is full of exaggerations, writing with a humor that can only be described as cute and light. -- Dana Lineham
The Journalism of John McPhee: Reporting the Environment
Winter Term 2010The Reading John McPhee Wiki
The Reading about McPhee page
Reflections on organizing "Pieces of the Frame"Recommending an ecological article for us all to read (see Prompt #24)
The questions people posed in class April 7 (see Prompt #25)
Here's where records of reading in the work of John McPhee are posted. On this page are characterizations of the first page or two of a number of articles; more extended reflections on whole articles can be found by clicking the links saying "Described by" -- if there's a link, the person named should have posted an extended reflection on her reading. Explanations of this process can be found on the main Web page for the course.
As of 24 March (see Prompt #21), the reading assignments focus on the articles whose titles appear in green. These are pieces which most readers would agree address issues broadly defined as "ecological" or "environmental." When you read such an article, add a note at the end of the listing saying "Described by [your name], create a link to your report, and create it, as usual, as a file named the first word or so of the title followed by your initials.
00. "Pioneer: A Star Coach Goes West." The New Yorker 86.6 (22 March 2010), 34-37. Described by Joanne Goodall
0. ""The Patch." The New Yorker 86.1 (8 February 2010), 32-35. Described by Joanne Goodall, Katelyn ClewsThinking about openings, here's one: "You move your canoe through open water a fly cast away from a patch of lily pads. You cast just shy of the edge of the pads -- inches off the edge of the pads. A chain pickerel is a lone ambush hunter. Its body resembles a barracuda's and has evolved to similar purpose." The gap left between the description of what "you" are doing and that description of the barracuda-like predator sets up a tension that lures a reader very much the way a "kiwi muddler" might lure a pickerel. On the basis of the first page, this is going to be an explanation of why you might want to go out in a canoe looking for pickerel, as opposed to bombing around in a bass boat. -- Russ Hunt
1. "One-Stop Shopping." The New Yorker 85.15 (25 May 2009), 38-40. Described by Shannon Billings, Andréa Peters, Matt McGrath
Just by reading the first page of this article, it sounds like the entire article is going to be about a quest for lacrosse players for university teams. McPhee lists several areas that the coaches are from so this must be a very important deal if coaches, and players travel really far for the tryouts. The coaches make notes about the players, and use code names to hide the identity of the player. "Coach 1: Why did you turn around? Coach 2: I just wanted to watch Walker Clinton. Coach 1: Is he good? Coach 2: No." Walker Clinton is an invented name used to protect the player that is not a good lacrosse player. I look forward to reading the rest of this article. -- Shannon Billings
2. "Spin Right and Shoot Left." The New Yorker 85.6 (23 March 2009),54-61. Described by Andrew Bartlett
This article is explaining all the rules and the history of the sport Lacrosse. The main purpose is to inform the reader that most sports were taken from lacrosse in some shape or form. Some of the great Lacrosse players are famous for other sports like Wayne Gretzy. The New Yorker Magazine has evolved over time and the pictures have turned from comics and liquor advertisements into seductive scenes of people in compromising positions. This can be compared with the evolution of Lacrosse. The rules can be dated back to the days of Aristotle. Many of the more recent sports were adapted and certain elements taken from Lacrosse to make games like hockey, basketball and football. People still enjoy the New Yorker as well as the game Lacrosse. Amy Lawson.
3. "Checkpoints." The New Yorker 85.1 (9-16 February 2009), 56-63. Described by Katelyn Clews
In the opening paragraphs, McPhee describes Sara Lippincott, former fact-checker for the New Yorker magazine. In an article previously written by McPhee, she had to check the validity of an idea involving Chinese balloons closing down operations in scientific institutes during the creation of the atomic bomb in World War II. The idea was given to McPhee by a physicist named John A. Wheeler, with the disclaimer that he didn’t know it to be absolutely true. In Checkpoints, McPhee admits he wrote the story anyway, and left it to Lippincott to decide if it could be published. The rest of Checkpoints will presumably explore the outcome of Lippincott’s findings.-- Evan Bower
4. "My Life List." The New Yorker 83 (3-10 September 2007), 82-90. Described by Devika Dadhe
5. "Rip van Golfer." The New Yorker 83 (6 August 2007), Described by Jessica Marr
6. "Season on the Chalk." The New Yorker 83:3 (12 March 2007),58-71. Described by Allyson Gorham
In this article by John McPhee, McPhee explains that Europe’s chalk rests below the English Channel, which is mostly positioned below northern France, and it extends down to Germany, and Scandinavia, under the Limburg Province of the Netherlands, and under fifteen miles of the lower Thames. Chalk exists in a really large area! The narrator, and his 10 year-old grandson, Tommaso, are exploring the chalk in Thames, and they are taking note of the background, and the things that exist around the chalk, such as small boats, a wide river, and much more. Tommaso is an inquisitive young boy. He picks up a piece of the chalk, and breaks it only to use the chalk to write. Tommaso rights the words "rock on" on a piece of the revetment. Tommaso’s, "rock on" draws a crowd. Several things have been named after chalk, such as a town called "Chalk," "Chalk Road," a barber’s named, "Chalk Cuts," and "Chalk Park" neighbourhood. I think that since Tommaso has such an interest in chalk that he will take his grandfather on a journey to find more chalk, and to study about the history of chalk in Thames. It is hard to tell what will happen later in the story by only reading the first page, but I think that Tommaso will explore the significance of chalk in Europe. -- Shannon Billings
7. "Land of the Diesel Bear." The New Yorker 81:38 (28 November 2005), 116-131. Described by Joanne Goodall, Andrew Bartlett
This article is about a person that is observing his friend that is a truck driver. The truck driver is on the road 24-7 delievering several things, such as fatty acid, liquefied clay, petroleum-based candle wax, calcium slurry to many states, and provinces. The narrator has a chance ocassionally to join the truck driver in his trek across the USA, and Canada. The narrator sits up front in the cab with the truck driver, and they keep their eyes peeled for bears. They are always listening, and watching for bears. The truck driver is always looking for the best routes, and shortcuts to take with his truck to make good time for his delivery. You can tell that the truck driver has travelled the same ground (through several provinces, and states) over, and over because he knows of shortcuts, who the cops are, and what they are doing parked in certain spots patrolling. He also knows where the bears are, and other interesting details about the locations. It is obvious that the truck driver knows where he is going. I feel like this story will be about the truck driver, and the co-pilot running into some bears during their journey together, and narrowly escaping an attack or danger that they may be faced with. -- Shannon Billings
8. "Coal Train - II: Going Into Thunder." The New Yorker 81:31 (10 October 2005), 62-71. Described by Brittany Douthwright
This article is exaclty what I thought It would be about; coal trains. He talks about the trains themselves, but also the people who spend extensive amounts of time working with them, such as the conductors and engineers. Once again McPhee goes on the adventure with the coal train. He describes his detailed adventures with the trains, and how everyone works together as a team, including the trains. This is what makes the coal train business work. It is almost as if the trains have a mind of their own in this peice by McPhee. McPhee makes characters out of the trains, giving them names and characteristics. He even goes as far as giving them human characteristics, like a nose. (extended analysis coming soon...)- Brittany Douthwright
9. "Coal Train - I." The New Yorker 81:30 (3 October 2005), 72-83." Described by Devika Dadhe
9.5. "The Sunken City." The New Yorker 81:27 (12 September 2005), 38-39. Described by Joline Gaudet ( by accident, I didn't realize this wasn't a complete article before I chose it), **Andréa Peters**, **Allyson Gorham**, Shannon Billings* Brittany Douthwright Described by Darcy Cameron Described by Mackenzie Heckbert
10. "Out in the Sort." The New Yorker 81:9 (18 April 2005), 160ff. Described by Shannon Billings
In this article John McPhee writes about a Lobster managing company called Clearwater Seafoods, whose work plant is located right beside the open ocean in Arichat, Nova Scotia. There are a million lobsters that are usually of passage in the plant at a time, and each of them resides in a “private apartment” where the temperature is maintained just above the freezing point. This collection of high-ceilinged lobster housing is called the Dryland Pound, and there are in total thirty-four levels high of lobster apartments. McPhee describes how all these apartments’ sizes varies according to the size of the lobster that is assigned to live in them, and because the water’s temperature is so cold and it is very dark in the Dryland Pound, the lobsters are tricked into thinking it is winter. This article’s first page gives me the impression that McPhee will discuss the state of the sea and how quickly its inhabitant’s head count has dropped over the past few decades, due to the increased amount of fishing that occurs year-round and sometimes out of season as well. I wouldn’t be surprised if he wrote about job loss due to the industrialization of the fishing business, either. -- Andrea Peters
11. "Tight-Assed River." The New Yorker 80:35 (15 November 2004), 80ff. Described by Shannon Billings
On the first page of this article, McPhee tells the reader the dimensions of a very large vessel that is navigating down the Illinois River. Since the boat is huge, careful navigation is required so that no containers escape from the boat. As always, he gives a physical description of the pilot, Mel Adams, and he also introduces a worker on the boat, Carl Dalton. McPhee uses awkward phrasing at times. For example, "each morning, before he [Mel] goes off watch at five-thirty, he cell-phones his wife, Aurora, and gently awakens her." I think that this article is going to be about more details of the boat, explain why the boat is travelling on the river, and that the boat will have a hard time travelling down the river safely. -- Shannon Billings
12. "1839 / 2003." The New Yorker 79:39 (15 December 2003), 70ff. Described by Adam Hodnett
Throughout the opening paragraphs of this article, McPhee introduces the reader to the two brothers, John and Henry Thoreau. McPhee depicts the two brothers and explains that they are from Concord, Massachusetts. They decide to go on a journey in a sort of dory, with 2 rows and a sail; they venture down the Sudburry River and land in Hooksett, New Hampshire, which is 45 miles north of Concord. Henry Thoreau wrote a book detailing their journey entitled A Week On the Concord and Merrimack Rivers. McPhee and a college roommate of his decide to go on this same journey in an attempt to re-enact what the Thoreau brothers did; McPhee and his friend set out August 31st, 2003—164 years after the journey of the Thoreau brothers. It seems like it would be a very interesting read, to see how each voyage differed and where they were the same. From reading the first page, it is unclear as to whether or not there is any deeper meaning other than just doing the voyage because they can. - Katelyn Mokler
13. "Whiff." The New Yorker (10 November 2003), 50. Described by Andréa Peters Described by Darcy Cameron Described by Jody McIntyre Described by Shannon Billings
I read and leafed through the New Yorker with "Whiff" in it first. The article, which is only about 1,000 words, is magnificent. McPhee reflects on the advice given to him by one of his editors of the New Yorker, whom I am led to believe is a good friend of McPhee's because he adds inside jokes about him in this article. That, or, he dispises the man is talking in complete sarcasm. The advice is not to write about the future- it is forbidden territory because life does change. The stories McPhee wrote about the future are quite funny and the ending is hilarious- only if you fully understand the story and, in my opinion, it's sarcastic GREATNESS.-Joanne Goodall
14. "The Tee Room." The New Yorker 79:6 (31 March 2003), 49-52, 54-8. Described by Evan Bower
The Tea Room is an interesting article on the fate of the Russian Tea Room which is being sold for meusume space to the U.S.G.A. This is an intresting fate to investigate he fate of a tea room, but McPhee does it makes it interesting. The words he uses makes you feel the sense of disappointment that this tea room will no longer be there. McPhee also goes into the history of the U.S.G.A and what is is all about. Despite McPhee’s Captivating words. I find it difficult. to understand where the story is going and why this is such an important situation in the first place. I fell the importance almost gets lost in his words and even though descriptive, informative and interesting after reading the opening I did not grasp the purpose of the article, which I think makes it a less than satisfying read. -- Candice Whitman
15. "A Fleet of One." The New Yorker 79:1 (14-21 February 2003), 48-63. Described by Alex Nowicki
16. "Sapidissima." The New Yorker 78:24 (19 August 2002), 80 ff.
This article was in the recipe section of The New Yorker, nestled amongst an article from the “far-flung correspondent” about finding unique fruit at a New York grocer and an article about shadowing a restaurant inspector. The article is preceded by three different quotes about how, by eating an adult shad, you deprive a half-million shad of the chance to be born. From this, I expected the article to be about declining shad populations or overfishing. Instead, his brief introduction showed his intent to be persuading others to switch from frying shad to adopting a different method of preparation. To quote, “First I want to describe how I cook shad roe, then milt, then fillets boned and unboned, then whole shad.” The first page reads like a recipe book (only funnier and more entertaining), with instructions such as: “Cover the pan. Put it on the burner at medium heat, and do not go away. Do not answer the telephone. Exile wives, children, and even grandchildren-out!-for a couple of minutes while you listen.” It contains very precise, detailed instructions about how to begin cooking the shad and how it should look and smell at each stage. The rest of the article, I gathered from a quick skim, follows in a similar vein, with some flavour (pun intended) added by anecdotes from fishermen, different cultures and historical records about how shad could best be prepared. -Katrin MacPhee
17. "Absent Without Leave." The New Yorker 78:15 (10 June 2002), 40-47. Desribed by Matt McGrath
This article is about Shad Fishing, Shad being a type of fish. He highlights mostly the difficulties of such an acitvity such as having a hard time hooking the fish, impatience of the fishermen usually getting in the way of a productive haul, etc. The article is in the same style as the other McPhee article I have read, In Vigrin Forest in the sense that he uses obscure words and references and uses a lot of techniques borrowed from literary works. I found it to be more entertaining and captivating than In Virgin Forest, however.-- Ianic Roy Richard
18. "A Selective Advantage." The New Yorker 76 (11 September 2000) 70-82. Described by Jessica Holt Devika Dadhe
19. "They're in the River." The New Yorker 76:7 (10 April 2000),72 ff.
19a. "The Control of Nature: Farewell to the Nineteenth Century -- The Breaching of Edwards Dam." The New Yorker 75:28 (27 September 1999), 44-53.Described by Amy Lawson.
20. "Catch-and-Dissect."The New Yorker 74:32 (19 October 1998),58ff.
21. "The Ships of Port Revel." Atlantic Monthly, 282: 4 (October 1998) 67ff.
22. "Swimming with Canoes." The New Yorker, 74:23 (10 August 1998), 33ff. Described by Evan Bower
The first page of the article “Swimming with Canoes” is written very much like a narrative. In it, McPhee talks about his time at summer camp in Middlebury, Vermont, when he was a boy. He talks about the different things you can do in a canoe, from jouncing(propelling a canoe without any paddles), to jumping from the canoe into the lake, and lastly he talks about the air pocket inside a flipped over canoe.I found McPhee’s writing style in this article to be easy and nostalgic. His use of imagery easily allowed for me to not only visualize what he was writing, but to put myself in his place,remembering my own time at camp.Because the subtitle of this article is “Invisible to the upside, outside world”, I’m thinking that McPhee is going to carry on talking about the experience of being in the air pocket of an upside-down canoe, and also that his writing style will carry through in the rest of the article. --Joline Gaudet
23. "Warming the Jump Seat." Deerfield Magazine 54:3 (Summer 1997), 20.
24. "Silk Parachute." The New Yorker, 73:11 (12 May 1997), 108 ff. Described by Darcy Cameron
Throughout this article there is a man reminiscing his childhood, adolescent and young adulthood memories that he and his mother had together. It is written in the first person narrative, as an older man looking back on the memories of his youth. He remembers a time when he stayed out all night at college playing poker. His mother wrote him a letter to remind him that “staying up all night playing poker was shameful behavior.” Another fond memory that he had of his mother was how protective she was over him when he was a child. He goes on to recollect a few other memories until he finally he ends with a memory of a silk parachute. This was a tiny, hand-held parachute that when it was thrown into the air it always “floated back to you – silkily, beautifully – to start over and float back again.” I thought this was an interesting clip to read. A few of the stories that the man remembered were humorous. It was easy to sink into the man’s memory and picture parts of his youth. Because this article was only one page long there is no need to speculate what will happen next. He ended his memoire with what seemed to be his fondest childhood memory, the Silk Parachute. – Courtney Fox
25. "The Gravel Page." The New Yorker 71:46 (29 January 1996), 44ff.
26. "Other Snows." The New Yorker 71:45 (22 January 1996), 90ff.
The article “Other Snows” is basically McPhee describing the winters in various places he has visited. Like in his article “In Virgin Forest”, the above mentioned one is very descriptive. It encourages the reader to imagine the scene he is describing, may it be a warm, untouched forest or a snowstorm in Chicago. He’s very specific about his locations in this article, something which I found a little hard to relate with. If the reader doesn’t have a clear idea of the place he is describing, it can be hard to picture just what he’s trying to convey. For example, for someone who has never been to New York will not understand what exactly happened when “Bud Palmer drop [ped] the long one-hander from the Ninth Avenue-and-Fiftieth corner of the Madison Square Garden”. However when he describes the scenes he encountered, he does a marvelous job of helping the reader experiencing exactly what he went through.
He often writes as if he is conversing with the audience about the topic he is writing about. This was proved in the line- “ …which for a hundred miles had ground valiantly into the deepening whiteness, was stopped- you guessed it- cold”. He has a knack for making the audience feel involved, a trick, I have noticed, not many other journalists use.
Unlike the usual journalistic articles, McPhee’s articles seem a lot more than just facts on a sheet of paper.- Devika Dadhe
27. "New Yorker Index 1992: Opening the Stacks." The New Yorker 69 (22 February 1993), 83ff. Described by Mackenzie Heckbert
This article, in a nutt-shell, has John McPhee talking about his own personal love for The New Yorker and open-stack libraries.
It was a refreshing article to read because it was ordinary (in a good way) and original at the same time. The article covered his own interests, and it was ironic because I was reading about his love for The New Yorker in The New Yorker. He began travelling back to his childhood where, he said, he would row out to the middle of the lake in a canoe and spend the afternoon sifting through The New Yorker.
The article also had a touch of familiarity and humour to it. McPhee spoke about open-stack libraries and how library goers, along with himself, can easily become captivated by the sea of books when you love to read, learn, and explore - "The book you know about has led you to others you did not know about." I took this to mean that going to a library for a book lover is like a child going into a toy store. The last sentence of this article made me chuckle, too: "Hey. You. If you're going to strew those magazines all over the floor, pick them up afterward." -- Jody McIntyre
28. "The Ransom of Russian Art." The New Yorker, 70:33 (17 October 1994), 78ff. Described by Alex Nowicki
29. "Irons in the Fire." The New Yorker 69:43 (20 December 1993), 94ff. Described by Jessica Marr
As stupid as this sounds, while reading this article I could not help but be reminded of a story had read during my childhood. It was a Nancy Drew story where she was solving a mystery on a buffalo ranch. Anyways this McPhee article seems to be about the practice of branding cattle in Nevada. Cattle ranching is something I have little to no interest in, but McPhee was able to draw me into the story. The article seems like it is going to tell the story of the cattle ranchers who still hand brand their own cattle, instead of going with the more modern electronic branding. Having read this story straight from the source itself, The New Yorker, it adds a certain perspective that would have been lost had I been reading and html file for instance. For example McPhee gave descriptions of what some of the individual brands looked like. Because it was in The New Yorker there was also a picture to accompany the description. For someone who has a limited knowledge of cattle brands, this was extremely helpful. Also, the advertisements in The New Yorker helped to create a timeframe for when the article was written, because, in some cases McPhee’s writing can seeming feel timeless.-- Allyson Gorham
30. "Duty of Care ." The New Yorker 69:19 (28 June 1993) 72ff. - Described by Jody McIntyre, Mackenzie Heckbert, Joanne Goodall
As I began to read the article “Duty of Care” a few things struck me right away. A small description of what the article will be about. The first sentence reads “What do you do with two hundred and fifty million old tires?”. The first few lines of McPhee’s article talks about the environmental issue of having mountains of old tires. It talks about the changing nature surrounding the tires, and how it goes from gold to green as the seasons move forward, but that the tires always remain black. His description of the pile of tires from far away makes them seem small and insignificant but as he get’s closer the scene changes and it becomes more clear the environmental damage being done. I believe that this is supposed to signify the fact that every time something is done to harm nature, no matter how big or small it is still detrimental. The last section I read on the first page really struck me because McPhee talks about how the tires belong to every person in each different walk of life. They belong to tree huggers as well as “Litter-strewing rock-deafened ninja teen-aged nyrds” as he put it. McPhee is trying to show his readers that everyone takes part in causing environmental catastrophe.--Mackenzie Heckbert
31. "Water War." The New Yorker 69:10 (26 April 1993), 120ff. Described by Katrin MacPhee, Kayla Lawrence
This article starts off with an immense description of the Eastern Nevada Valleys. McPhee continues to explain the "saturated valleys and the landscape in which there is nothing taller than a "bunchgrass" Immediately I am reminded of the very first piece of McPhee's I ever read, "In Virgin Forest". The tired descriptions they never stop! I never thought I would get sick of someone explaining landscape before. Frankly McPhee, I'm over it. Finally he starts to interest me, he unravels the reason behind the description of the desert, the tells the reader that Las Vegas wants this "fossil" water. He tells the reader that even though Las Vegas is relatively far away from the underground water, money can buy anything.
As for the rest of the article, I think that McPhee will continue to write about consumerism. Specifically, how the business people of Las Vegas are changing the natural landscape by making man-made lakes and tourist attractions such as water parks. While I don't believe that he will state this blatantly he will hint at it. In the few articles of McPhee's that I have read I have noticed that he is not an obvious man, he prefers to suggest things subtly. - Dana Lineham
32. "Arthur Ashe Remembered." The New Yorker 69:2 (1 March 1993), 57ff. Described by Joline Gaudet
This is an extremely short article (that is not environment-related) that highlights the life of tennis player, Arthur Ashe, who died from heart disease. As we know from reading "In Virgin Forest," John McPhee likes to use extensive detail, and it is true for this particular article as well. In such a short article, McPhee uses great detail to capture a lot of Arthur's life, both personal and on the tennis court. In fact, there was nothing in this article that was unnecessary. What I mean by that, is, the article immediately began by describing Ashe's personal life (personality, values, demeanor) and intertwined that with his life on the tennis court (skill, unpredectibility). He did not, whatsoever, use any useless information specifically for page filler. John McPhee cuts to the chase - no bullshit in between. And if you didn't know who Arthur Ashe was, that's okay, because McPhee can say so much by saying so little. To me, and probably to a lot of people, that is a skill that is hard to do. -- Jody McIntyre
33. "Remembering Mr. Shawn."The New Yorker (December 28 1992), 137 Described by Garrett Derrah
In this short article John McPhee is asked to make a comment regarding his former editor who has passed away. The way that McPhee writes about his deceased friend, and the times they shared is a vivid trip down memory lane, explaining some of the more renowned of their conversations. McPhee was very fond of this editor and you can feel it in his writings, the language used is very warm and you can sense the bond that they shared. Each of the writers of the New Yorker has an article dedicated to Shawn, editor of the magazine, and each of them share with the reader some of their experiences with Shawn.
There were many writers talking about Shawn in the magazine, however he didn’t seem to be the main focus. With so many writers I would think that he would at least have a bigger portion of the magazine dedicated to him rather than 4-5 pages.---Garrett Derrah
34."Annals of the Former World: Assembling California -- III." The New Yorker 68:31 (21 September 1992), 39ff.
This article went right over my head. Saturated with technical geological terms that only a geologist could understand, I would know my dad is one. In an odd way, the article kind of feels like a geologist writing a travel piece of the Napa Valley in California.
I expect that the rest of the article will follow suit, being almost impossibly dense with jargon and multiple references to rocks, YEAH! As to the purpose of the article, I think McPhee’s goal was just to paint a very difficult to understand portrait of California.
Something I found interesting in the article was the numerous comparisons McPhee drew between rocks and food. I think this might be to make the subject matter more digestible (pun intended) to readers who have no prior knowledge on rocks.
“Between the grinding lithospheric plates, the rock of this terrain was so pervasively sheared that a roadcut in metabasalt looks like green hamburger.” (New Yorker, 21 September 1992, p.39)
“Imagine – before plate tectonics – the aching problems that this fruitcake, this raisins-in-a-pudding kind of stuff, produced.” (New Yorker, 21 September 1992, p.39) -- Alex Nowicki
35. "Annals of the Former World: Assembling California -- II." The New Yorker 68:30 (14 September 1992), 44ff. Described by Andrew Bartlett, Emma Smith
From the first page of this article, it seems McPhee has taken an interest in geology and befriended a man by the name of Eldridge Moores, from the University of California. It seems to be relatively close to the time when the theory of the tectonic plates was beginning to form. An attempt is made to relate the excitement of finding the same kind of rock in the desert as is found on the ocean floor. In what, I’m beginning to consider, characteristic of McPhee’s writing, he attempts to educate us in what has been going on in the world of geology and some of their discoveries.
This one doesn’t do it for me though. I guess knowing things like the discovery of whale like fossils in the desert and the fact that all the worlds’ continents were united in one massive continent called Pangaea, left these ideas feeling a little stale. It’s a pretty bold task to attempt to make geology interesting to the mass public, and I’m sure McPhee succeeds further on, but for me, tonight, it doesn’t really grab me. -Adam Hodnett
36. "Annals of the Former World: Assembling California -- I." The New Yorker 68:29 (7 September 1992), 36ff. Described by Evan Bower.
1. "Looking for a Ship, Part III." The New Yorker 66 (9 April 1990) 40-4. Described by Amy Lawson
This story started as a profile about a sailor named Captain Paul Washburn. It begins by talking a about his life looking for work on ships, and about life while he sails. It also talks about his life at home with his wife, and how he is often away. When he comes home they argue about sports on television and he threatens to go back to sail.
In the beginning of this article the reader really gets the sense of who this guy is. He did not become a sailor because he wanted to, but because this is the only place some men often fit in. He is very passionate about sports, because it tells the story of a heated argument him and his wife got in over a Red Skins game. Much of the beginning of the article is about life on ship, which told me as the reader, being on a ship was the most important thing to Washburn. Being away sailing even causes him and his wife to bicker, but he still keeps her picture with him, as well as pictures of his daughters and grandchildren. Washburn is a great-grandfather, so this gave me the impression that he has seen a lot and probably has been through a lot. Much of what is written, sort of reminded me of my grumpy old grandfather. Here are some parts which stood out to me as a reader about this man’s character:
“We were bringing troops home. We were feeding the world. Hey when I was sailing, I sailed.”
“I couldn’t handle defeat like that,” he says. “I can’t now. I picked an argument with my wife. I remembered saying , ‘listen, woman, I don’t have to listen to this. I can go back to sea.’ She said, ‘listen, jackass, if you go back to sea, if you come back to this house it will be so empty it will look like no one ever lived in it.’ -- Brittany Douthwright
2. "Looking for a Ship, Part II." The New Yorker 66 (2 April 1990) 46-8. Described by Courtney Fox
3. "Looking for a Ship, Part I." The New Yorker 66 (26 March 1990) 40-4. Described by Jessica Holt
In the beginning of Looking for a Ship, McPhee is staking out Ben Sawyer Bridge with Andy, as they wait for a boat to travel on with Andy’s National Shipping Card. Although I’m not sure what that card is, it seems to allow Andy to travel for free on shipping vessels. For Andy and John, this means free travel, and the two are discussing the possible locations they could end up in during the stories beginning paragraphs. Unlike In Virgin Forest, Ship opens with a light hearted approach, as Andy and John fear that Ben Sawyer Bridge will be drawn too long, and they won’t make it across in time to catch their ship. This story seems appealing in that its immediately upbeat and fun.-- Evan Bower
4. "Travels of the Rock." The New Yorker 66(26 February 1990) 108-17. Described by Jessica Bruce
After reading the first sentence of this McPhee piece I think that it will be descriptive writing about nature. “Plymouth Rock is a glacial erratic at rest in exotic terrane.” As I quickly read through the rest of the first page it talks about a rock that separates two locations. McPhee mentions that the rock represents the “irreversible rupture between England and the American colonies”. He also says that the “lower half was the Tory half, for it stayed behind, while the upper part was moved from the harborside to Liberty Pole Square for the specific purpose of stirring up lust for independence.” These two previous statements make me assume that he is using the rock as a metaphor, but I am just not 100 per cent clear on it yet. Later on McPhee says that the rock is “the oldest symbol of the New World was in dire need of a mason”, further backing up my suspicion of the rock symbolizing something deeper.
I can tell that this is McPhee writing because of the descriptive way in which he does so. Like “In Virgin Forest” I can visualize what he is talking about.
The biggest thing that struck me with my short reading of this first page, was the following statement:
They opened the grave of a child. 'About the legs and other parts of it was bound strings and bracelets of fine white beads; there was also by it a little bow, about three quarters long, and some other odd knacks. We brought sundry of the prettiest things away with us, and covered the corpse up again.' Before the sun had set four times, 'arrows came flying amoungst us.' I'm intrigued to read the rest of this article simply to figure out what he is talking about. -Deanna Gamble
5. "Rinard at Manheim." The New Yorker 65 (4 December 1989), 150-2. Described by Courtney Fox, Garrett Derrah
We’re looking at an exotic car auction in this one, circa late 80’s, I suppose . This one looks a little different, from others I have read, style-wise. McPhee states that he’s “…a scout here. A consultant.” McPhee also plays with words quite a bit in the first section of this article – little puns. Fun to pick out. McPhee seems to be poking fun of the whole idea of the worth of exotic cars, while remaining inoffensive to the car buff. He also seems to be taking the attributes of certain cars and linking them to types of people. The Manheim auction is set in an area which has a population of Pennsylvania Dutch and Mennonites – the contrast of cars and buggies is noted. McPhee uses square brackets throughout, I suppose to interject interesting tidbits and side notes. – Rylan Kozak
6. "Los Angeles Against the Mountains -- II." The New Yorker 64 (3 October 1988), 72-90. Described by Jody McIntyre
At the beginning of the article McPhee Mentions That decades ago along the floors of Los Angeles there were citrus trees everywhere. As each year went by, the number of citrus trees decreased, and the number of buildings, and condominiums on the land increased. Even after the majority of the trees on the flat ground had been cut down, many people started building homes and other building on the mountains as well. Mainly to avoid floods, and other damaging things that would have happened if they had built their home on flat ground. I think the basis of this article is trying to notify everyone about what they are actually doing to the environment. Not only have people cut down all the trees on the flat ground, they have made their way to the mountain too. When is going to be enough? Soon enough there will be more buildings then there are trees. Katelyn Clews
7. "Los Angeles Against the Mountains -- I." The New Yorker 64 (26 September 1988), 45-8. Described by Emma Smith, Deanna Gamble, Jessica Bruce, Brittany Douthwright2
8. "The Control of Nature: Cooling the Lava -- II." The New Yorker 64 (29 February 1988), 64ff. Described by Garrett Derrah , Katelyn ClewsKatelyn ClewsThis article is an explanation of a vast power that a part of Mother Nature has over the people who inhabit earth. This power is known as a volcano and is capable of destroying entire cities and the lives of countless families. The introduction shows the reader the incredible power the volcano holds and the attempts of the civilizations being impacted trying to fight this natural killer. The further parts of this article might continue the ongoing eruption of this particular volcano and the damages being caused. Also, it could go more in depth about the military measures that are being taken to subdue and prevent the lava and magma from spreading further. It might also explain how the people feel who are impacted by a volcano erupting. The article mentions that the people of these cities feel like they are always retreating. Sometimes fast and sometimes slow by there is never a time they can stop, relax and feel safety. Their sense of security and control has been altered by nature which is somewhat of a role reversal as people are usually the ones using and exploiting nature.- Jessica Holt
9. "The Control of Nature: Cooling the Lava -- I." The New Yorker 64 (22 February 1988), 43ff. Described by Garrett Derrah, Darcy Cameron
10. "Release." The New Yorker 63:32 (28 September 1987), 28-32. Described by Katrin MacPhee
The article begins by introducing a “pure humanist whose spirit had prospered with the rise of technology”whose name is Robert Russell, and he is a professor at Franklin and Marshall College in Lancaster. He also is the chair of the English Department at one point, and is the author of several books and articles. McPhee lets him narrate the first part of this article, in which Russell describes how writing wasn’t a solitary affair when he used a typewriter, for when his mind wandered or he was interrupted, he could never remember what he had written last unless someone around reminded him where he had left off. Otherwise, he'd go ahead and hope for the best (we later find out why).
McPhee then takes back the stage, and to describes how Russell’s I.B.M PC is upgraded to the level of XT, and has a 20 megabyte hard drive. McPhee remarks aloud how there is a typo in the limerick typed out on Russell’s screen, and wonders how long it will take to correct it, and just as Russell hits F6 the computer begins to talk in a strange, disconnected, extraterrestrial tone. Just by listening to the computer’s strange dialect-like recitation of the words on the screen, Russell realizes he had forgotten to put a “d” to the word “owned”. McPhee goes on to give us the details and various options of this machine’s ability to talk, which was controlled by hitting different keys for different things, and a description of Russell’s physical and mental demeanor. McPhee writes about Russell’s blindness and all the things he accomplished without his vision in such a delicate and admiring way, that it seems almost poetic.-Andréa Peters.
11. "Atchafalaya." The New Yorker 63 (23 February 1987), 39-44. Described by Brittany Douthwright, Jessica Marr,
Shannon Billings, Katelyn Clews, Joline Gaudet, Ianic Roy Richard, Kayla Lawrence "Atchafalaya" by John McPhee is about a river; McPhee explains how there is a strange relationship between a river and “adjacent terrain”. Throughout this article the river is examined and McPhee writes about the geographical order. Two men are described one being the narrator, and the other called the “Lockmaster” his real name being Norris F.Rabalais, McPhee uses colours to explain certain aspects of what they are wearing. The Lockmaster is discussing navigation locks and how they were used to lower ships. The narrator is telling his story of when he first met Rabalais, he discusses how there was no such thing as a navigation lock when he was a child. He explains how a navigation lock was used to lower ships from the Mississippi and how “water just poured out, boats with it, and flowed on into a distributary waterscape known as Atchafalaya” (1). Throughout this article one grasps the strong meaning of nature, how McPhee presents the image throughout is very descriptive, diverse and full of knowledge. Throughout the article readers comes to the realization how man destructs nature once again.--Kayla Lawrence
12. "Rising From the Plains -- III." The New Yorker 62 (10 March 1986), 70-82.
13. "Rising From the Plains -- II." The New Yorker 62 (3 March 1986) 41-2. Described by Jessica Holt
I wish I could be as enthusiastic about the second read, however. I didn't care too much about the Plains because it used words I couldn't skim over and still understand the story. McPhee tries to put familiarity with some of the terms cowboys used to describe everyday items but I became lost. As well, for someone like me who likes good description, found this article to be over burdened with it. I don't know- it is the second part of the series, maybe I had to read the first part to understand the significance of the way McPhee is talking. But that isn't true either, in a sense, because I think it's neat that McPhee is writing in a way that makes him sound like he's Eastwood in a western but I just became lost as a reader.-Joanne Goodall
14. "Rising From the Plains -- I." The New Yorker 62 (24 February 1986), 38-42. Described by Courtney Fox
This article is exceptionally different from other profiles I have read. McPhee is not only profiling the geology of the land near Rawlings, Wyoming but also a woman who he's depicts as a regional geologist. He then contradicts him self saying she is not a geologist in any sense of the form. The contradiction seams confusing but also intriguing and makes me as the reader want to continue to see where he is going with his point. He spends half the first page of the article detailing this woman with great effort. With details that would otherwise seam useless like her ability to to speak Latin and Greek; but that is what makes the work of McPhee so interesting the seemingly unimportant details are the ones the are keeping the reader interested. It gives you a personal connection to the woman which draws you in. The other half of the opening page is spent detailing Rwalings. Which seams strange but McPhee manages to give his descriptions of a landscape and place and almost personal feel. it makes a landscape scene more interesting and makes it seam like it has more value and importance to the setting of the story than just filler or a place for it to take place. I think McPhee did a grate job at capturing interesting the first several hundred word of this piece. It is very interesting. -- Candice Whitman
15. "Heirs of General Practice." The New Yorker (23 July 1984), 40-85. Described by Deanna Gamble
This article talks about young people who have decided to enroll in the medical profession. The article starts off with a woman named, “Ann Dorney”. This part of the piece leads you to believe that the article will be solely about her until you remember the ‘s’ at the end of Heirs. McPhee tells the stories of these people from their interest shown in the profession in their younger years to their current situation in the medical field. I liked this article because it was easy to read. This is something that more people will find interesting compared to something like a canoe. I’m however unsure about the later part of the article. When reading the first bit of it I didn’t really see a point or a conclusion that would emerge by talking about these people lives. After McPhee describes the physicians’ lives to us, what is next? How does this article end exactly? What is McPhee trying to achieve by describing these doctors succession into this field? The way this is written makes you want to know more about the message McPhee is trying to communicate to us. Acey Outerbridge
16. "Our Far-Flung Correspondents: Open Man." The New Yorker 59 (10 October 1983), 108 ff.
This article was published in New Yorker magazine, between an article about Konrad Adenaur, the first chancelor of the Federal Republic of Germany and his experiences before, during and after World War Two, advertisements for new-fangled telephones, car ads, and an article about the relationship between energy and the economy. The first page of the article describes New Jersey’s senior U.S. senator, Bill Bradley’s (former New York Knicks’ player) meeting with the public on the boardwalk of Seaside Heights, NJ. McPhee gives the impression of having followed the senator down the boardwalk while he is greeting the public and answering their questions about everything from military bases in the Philippines to basketball, pay raises for teachers and car insurance prices. It seems as if the article will continue on as a profile of the senator, covering everything from his policies to his eating habits. My initial reaction to the beginning of the piece was that I liked how, as we met Bill, we were simultaneously introduced to how the public views him. In this way, we don’t just receive McPhee’s take on him, but that of the average person. -Katrin MacPhee
17. "Riding the Boom Extension." The New Yorker (4 August 1980) 36-48.
I found this one, not in a copy of the New Yorker but rather a stand alone booklet in the library. It said on the last page of the book that only 150 copies of it had been printed and each one of them was hand signed by John McPhee himself.
The article itself is about some guys that drove from Texas all the way Circle City, Alaska in order to participate in the Gold Rush that was going on there. The first few pages that I leafed through detailed the history of Circle City, from a largely populated cabin village with as many whorehouses as saloons to a small settlement that had had most of its cabins swallowed by the nearby Yukon River. In the article, McPhee presents the miners, who were his interview subjects as charaters within a story. They have dialogue and the article itself is written much as a short story would be written. --Ianic Roy Richard
18. "Annals of the Former World - II." The New Yorker (27 October 1980), 57-155.
McPhee begins his article by desribing the coordinations to a location. Not knowing much about Latitude/Longitude I began this article with slight hesitation. Eventually after all that suspense we end up at the George Washington Bridge at 9 am. McPhee begins to describe the rush of traffic and suddenly we are introduced to Karen Kleinspehn. McPhee creates a wonderful image of this women by describing her in detail, which gave me a mental image of her "Long bright Norwegian Hair". Karen is a Geologist, one trying to work on a large rock which seems to me to be on the side of the road. I'm only assuming this because McPhee said that she needed to "shout to be heard" so the chaos of the traffic must be near. After reading one page I am going to make the assumption that McPhee is going to tell a further story of this rock and a little more about what Karen is looking for. - Jessica Bruce
19. "Annals of the Former World - I." The New Yorker (20 October 1980), 58-136. Described by Jessica Bruce
That's more like it. Johnny is back to his old tricks talking about nature but this time the topic has changed from trees to rocks. Huge rocks we call tectonic plates. Mcphee describes the effects of their movements by notifying the reader of physical geographical changes happening over the course of 50 lifetimes. It is intereseting to know that cracks are begginning to form in America that will not only last forever, but eventually tear the vast country apart. If he likes writing about mankinds negative effect on nature, he must love writing about an unstoppable force that will slowly but surely tear the world we worked so hard to control apart.- Kevin Williams
20. "Brigade de Cuisine." The New Yorker (19 February 1979), 43 ff. Described by Andréa Peters
“Brigade de Cuisine” profiles a restaurant that is near New York City. This piece opens differently than other articles by John McPhee. McPhee writes in the first person, and places himself in the kitchen of a restaurant. He immediately positions himself close to the chef of the restaurant, and not only do we get an idea of who the chef is, but also who John McPhee is. There is a sense of closeness between the writer and the subject in this article. McPhee describes the process of observation, and we get a better idea of how McPhee operates as a journalist.--Emma Smith
21. "A Reporter at Large: Giving Good Weight." The New Yorker 54 (3 July 1978), 36-8+.
There's no introduction. The voice starts right in, the voice of a farmer, maybe, bringing produce into New York. "You people," he says, "come into the market -- the Greenmarket, in the open air under the downpouring sun -- and you slit the tomatoes with your fingernails." The whole of the first page of the article sets up this voice, over against the city folks, who come off as suspicious and surprised. You can't tell from this where it's going, but it's full of delicious details about what people say, what they buy, and what's for sale. -- Russ Hunt
22. "A Reporter at Large: The Encircled River - II." The New Yorker 53 (9 May 1977). 88ff.
Because this article is, as far as I can tell, part of a series of articles, (and especially because it's the second part of an already-started article), I found it pretty confusing. As far as I can tell, McPhee is writing about traveling through Alaska as part of a "study team", to reach a particular river that could potentially become a National park. This particular river is only a small part of over eighty million acres of land that are being considered for wildlife refuges in Alaska. As usual, McPhee's writing style is descriptive and full of imagery, which made this(the first page, at least) an interesting read for me, despite my overall confusion about what he's actually talking about.--Joline Gaudet
23. "A Reporter at Large: The Encircled River - I." The New Yorker 53 (2 May 1977), 47-8ff. Described by Katelyn Mokler, Devika Dadhe
This article seems to be about the salmon flow and the trouble that could come up if they are unable to fallow their normal travel path up the river. I am getting the idea that their path may become blocked because of a dame or some human made obstacle that is now in their way. If that is the case, it would seem that McPhee is trying to show the dangers that can come up if the natural course of events in nature cannot happen. This is especially true for salmon that travel down the same rivers they were born in to go and lay their eggs for the fallowing season. If they can’t get to their original breeding spot, many will die trying and the salmon numbers could possible go down from the low numbers they are at right now. Andrew Bartlett
24. "A Reporter at Large: Coming into the Country - IV." The New Yorker 53 (11 July 1977), 30-40ff.
25. "A Reporter at Large: Coming into the Country - III." The New Yorker 53 (4 July 1977), 33-6ff.
The article begins by McPhee describing a man growing up in rural setting. Within this setting, this man (Stanley) had to resort to non-typical things such as playing with engines and car parts. Seeing how Stanley did not have any friends that he could interact with, he was left for doing mechanical work, in which he taught himself. Right from the get go, I am interested to see where this story will take me. I enjoy stories that get right to the point and describe characteristics of individuals within the story. It also, very early on, talked about his interests and his location which only leads readers to imagine what will happen next in the story. I feel that this story may later describe that with all of his free time, Stanley either invented something, or did something heroic that had influence on a lot of people. I got the feeling that because he grew up in pretty near solidarity, that his later life would have a huge impact or influence on others. --Matt McGrath
26. "A Reporter at Large: Coming into the Country - II." The New Yorker 53 (27 June 1977), 58 . Described by Adam Hodnett
In "A Reporter at Large: Coming into the Country – II”, McPhee writes about a couple- Brad Snow and Lily Allen- who have moved out of the city and into the country. He describes their way of living, the difficulties they face and the things they find joy in. One thing about McPhee’s writing that impressed me is his knack to keep the reader interested in the story. I started reading thinking ‘I’m only supposed to read two pages, not too bad’, and ended up reading the entire article since I found it so interesting. He places the right details and quotes at the right places, making the reader feel what he thought and felt at the time. He presents facts, and not his interpretation of a person or a situation, in a way that appeal to the readers. This, I found, is different from the usual journalism- writing with open eyes and a closed mind. - Devika Dadhe
27. "A Reporter at Large: Coming into the Country - I." The New Yorker 53 (20 June 1977), 43ff. Described by Katelyn Clews
This article seemed pretty interesting, at least based on the first page that I read. McPhee introduces us to a woman named Donna Kneeland who, in 1975, gave up her fast-paced life in the big city of Edmonton Alberta and moved into the Alaskan wilderness, living a life of virtual isolation in the woods and living almost entirely off the land. The closest thing to “civilization” that she has access to is a little town about 20 miles away called Eagle which, as McPhee tells us, is “a community whose population has expanded in recent years and now exceeds 100,” so that gives us a good sense of just how isolated she is out there. That’s about as far as I read, but it did seem very interesting, and I also responded to the weird humour in McPhee’s writing style. When describing her living conditions, for example, he says “her copy of The Joy of Cooking previously belonged to a trapper’s wife who froze to death.” I found that to be an oddly amusing piece of information. I also enjoyed the sense of irony I got from the fact that an article like this appeared in The New Yorker, which seems aimed more at snooty city folks. -- Darcy Cameron
28. "A Reporter at Large: The Keel of Lake Dickey." The New Yorker 52 (3 May 1976), 43-48ff. Described by Jessica Holt
This article by McPhee is telling a story about The St.John river. He starts off by describing the surroundings, the weather conditions and how long he has been in the wilderness. He again mentions forests in this passage as he states "small and intimate fores river, something like the Allagash, which is not many miles away." As I was reading this I am unsure of what river he is talking about. When I think of the St.John River I think of the main river that flows through New Brunswick, and I have never heard of Allagash before, so my question is , where is this place he is in? The article is very descriptive and interesting to read, I'm just not sure where he is coming from. He also mentions people he has met along the way, on his journey down this river. For instance he says "John Kauffmann, in the stern of a read Royalex canoe, has come from Alaska to go down the St.John". Near the end of the first page of this article he compares this river to other rivers in Canada and the United States. Therefore I think the rest of this article is going to explain and describe nature in various places in the North American regions, paying special attention to rivers and forests. -Jessica Marr-
29. "A Reporter at Large: What They Were Hunting For - II." The New Yorker 52 (4 October 1976), 40-6ff. Described by Alex Nowicki
This article tells the story of two men, Dick Harris and Joe Juneau and their time spent gold mining in Alaska. At least that is what I gather from reading the first few hundred words. McPhee seemingly makes Harris and Juneau out to be these bumbling losers. This is interesting because both men died long before McPhee was even born. So I am assuming that McPhee is basing their descriptions off of things that he has read. This story seems to be going to tell the story of these two prospectors and their time spent in Alaska, but with McPhee one can never be sure. Like the other article reading the story from the physical copy of The New Yorker does seem to make a difference in the way that the reader understands the story. In this particular story there were some of the regular cartoons that The New Yorker was famous for. --Allyson Gorham
30. "A Reporter at Large: What They Were Hunting For - I." The New Yorker 52 (27 September 1976), 80-82ff.
This report is on the capital of Alaska and how nature and time have dictated the need for a change in capital. This is expressed through urban slang and colloquialisms that can be found hidden in lines scattered among various paragraphs with words like "megahedron", "doming" and "pluming;" a megahedron is a fantastic geometric shape. If you have ever heard the expression a picture is worth a thousand words, google earth Alaska and look at the photos because John Mcphee was right on with the new words and how he uses them to express the mountainous wonderland. This place is a beautiful site from a cruise ship and I can only imagine what they were looking at from the plane, as they flew over these towering ice sculptures. It would be a necessity to point out the pun directed at the bears grazing in the meadows. The helicopter ignored them on a hunt for a new capital. Amy Lawson
31. "Our local correspondents: The Pinball Philosophy." The New Yorker 52 (30 June 1975), 81-3ff. Described by Allyson Gorham
32. "The Forager." The New York Times (10 January 1976), 25.
33. "A Reporter at Large: The Atlantic Generating Station." The New Yorker 51 (12 May 1975), 51-2ff. Described by Adam Hodnett
In this article John McPhee is reporting on a dilemma that befell New Jersey in the 1960’s when the state realised that the current supply of energy would not cover the demand. Given that all the potential areas to build these power plants were already used for power plants, and the fact that New Jersey does not have enough space for more this became a potential problem for the near future if something was not done. One suggested solution was a mobile nuclear power plant. This idea was envisioned by Richard Eckert, a Public Service Engineer, whilst in the shower. With the increasing demand for energy and the decreasing resources, Eckert believed that he would eliminate the need of such resources as land by moving the operation onto the Atlantic Ocean. With these mobile nuclear power plants, Eckert thought, he would be able to move them to any location that required the use of such a plant.
In My opinion this seems like an environmental disaster waiting to happen. I’m not convinced no matter how well they think they can build such a thing, and how well they’ll take precautions. I’m glad this never made it off the ground. Whether or not McPhee shared my opinion on the subject, McPhee still wrote with a very refined structure, and goes into incredible depth regardless of his emotions.---Garrett Derrah
34. "A Reporter at Large: Survival of the Bark Canoe -- II." The New Yorker 51 (3 Mr 1975), 41-8ff. Described by Katrin MacPhee
Much like “In Virgin Forest”, this article starts with a history portrait, more specifically, the history of the Native American Birch canoe.
Focusing on the fur trade in early Canada, and how immensely useful the bark canoe was during this time, McPhee seems to be gearing towards the increasing loss of Native American traditions and skills, including the fabrication of the birch canoe.
The article so far is mostly devoid of subjective passages, there are, however a few that help remind us that McPhee, the person, is telling us the story and not some disembodied narrator.
“Canadians red and white were developing warm interracial relationships bonded by a business that was conducted to the advantage of all. All but the beaver.” (New Yorker, 3 March 1975, p.41)
John McPhee describes a lot of interesting historical titbits about the history and geography in Canada. For example, one can cross the entirety of Canada with a canoe, and the longest portage (carrying the canoe instead of driving it) is only thirteen miles.
As for the context of the article, it was written during the presidency of Henry Ford. The year is 1975. -- Alex Nowicki
35. "A Reporter at Large: Survival of the Bark Canoe - I." The New Yorker 51 (24 February 1975), 49-50ff.
In the first page of this article we are introduced to Henri Vaillancourt.A young man of 24 who has already made over 30 birch bark canoes in an obsession that began when he was fifteen.
The first paragraph sets us up with a rough idea of who Henri is.An extremely confident, determined, self reliant man.He makes loose plans to uncertain locations with equipment made on his own, and would be upset if it were any other way.
We then get an idea of what attracted Henri to the art of canoe building and are reminded how few people are left practicing the skill. McPhee effectively expresses Henri's dedication and, without being directly told, we sense that he is probably the master of the art.
John McPhee then goes on to educate us. He is clearly a good interviewer and researcher. We're told of Edwin Tappan Adney, the man who wrote the book that Henri learned from, and we get a few key details of Edwin's biography. Enough to get us interested but still satisfying enough to keep us receptive to the what follows.
We then learn about the different kinds of canoes and a bit about the natives who used them. Unfortunately,I can't really tell how well written this is because I have recently been extremely interested in canoes. For me, it was fascinating. That's part of what I'm liking about John McPhee though. He seems to write in a way that gets at my personal interests in some way or other. Perhaps it's his intuitive understanding of what people find interesting that makes him a good writer. Although, I would have never thought that a story on a man building canoes would be so immediately interesting. He's also very good at finding, and describing, interesting characters.
-Adam Hodnett
36. "Ruidoso." The New Yorker (29 April 1974), 83-112.
1. "Firewood." The New Yorker 50 (25 March 1974), 81-2ff. Described by Joanne Goodall, Andrew Bartlett
This article stands up to its title, being about firewood. McPhee begins by talking about the prices of firewood. He begins the article with this sentence:
“Firewood has been selling, of late in New York city, for one dollar a stick.”
Keeping in mind this article was written in the 70’s, it is pretty interesting to know little facts like this one. It also really surprised me that people needed wood in New York City. I have been to New York, and really, it is the last place you would think people need wood.
In this article the most noticeable factor was how short McPhee’s sentences are. Here are some examples:
“Piles of it. Right off the sidewalk. Split from small logs to of oak, or ash or maple. Split. Split again.”
Another interesting thing I noticed about this article was the McPhee’s sense of humour. Here are some examples:
“One woman called the foresters and asked if a cord of wood could fit into her pinto. A cord of wood and a Pinto are about the same size.”
“One man said he had an electric chain saw and he wondered if there were electrical outlets in the forest. Another asked if there were toilet facilities close to the trees.” -- Brittany Douthwright
2. "The Curve of Binding Energy - III." The New Yorker (17 December 1973), 60-97. Described by Amy Lawson
This article is about Ted Taylor is about his life at General Atomic Civilian Laboratories’, making creative use of nuclear energy. It seems to be explaining the life of Ted Taylor and his wife, who ends up bearing the responsibility around the house, and her husband walks around thinking in a “metaphysical disappearance.” This article might achieve to find a solution to get heavy equipment into space and do this as cheaply as possible. My first reaction was this man might be a little nutty but he’s got some pretty big ideas rolling around in his head. This article has two comics one is a son and his father and they are sitting in a chair watching tv. The dad says “yes son anyone can be an anchor man.” The next comic is a woman who just finished watering her plants. The plants are poised in an animated stance and it appears they are saying “I thought she’d never shut up.”Amy Lawson
3. "The Curve of Binding Energy - II." The New Yorker (10 December 1973), 50-108.
4. "The Curve of Binding Energy - I." The New Yorker (3 December 1973), 54-145. Described by Emma Smith
From the beginning of this reading I assume that it will be about nuclear energy, however reading further into it I think it's going to have a focus on nuclear bombs. McPhee is contemplating what it will take for the world to wake up and rid itself of the dangers of nuclear bombing. McPhee is quoting a chemist by the name of Theodore B. Taylor, that strongly believes the dangers of nuclear bombing is exaggerated. This chemist argues some pretty radical ideas that I am not necessarily sure that I agree with, however, I read on. I do feel compelled to read on in this article, just simply because it begins with such a bizarre tone. -Deanna Gamble
5. "Profiles: Travels in Georgia." The New Yorker 49 (28 April 1973) 44-6ff. Described by Joline Gaudet Described by Andréa
Beginning with a brief description of breakfast at some family home, then hopping the car with the two locals. Someone ahead of them had a run in with a big snapping turtle. As they come across the “D.O.R.” they stop to lend a hand to the suffering creature. Seeing the commotion, some interesting locals also stop to add their two-cents, bringing some humor to the situation. McPhee notes on the odd group of people in company. Various levels of worldly smarts seem to be a theme in the piece. The Sherriff ain’t seemin’ so smart – a gun-toter with bad aim. I can’t see where this is going other than a look at the personal, day-to-day life of folks down in Georgia. – Rylan Kozak
6. "The Deltoid Pumpkin Seed - III." The New Yorker (24 February 1973), 48.79.
The Deltoid Pumpkin seed is about the creation of airships, and their effect on the environment. What these airships do is carry tons and tons of cargo from place to place, over mountains and oceans, saving trucks and boats from having to make the same trip several times. I’m not completely sure what McPhee is getting at here, but it seems to me that the development of these airships, are saving time, money, and the environment. By reducing the involvement of trucks and boats and other modes of transportation, they are eliminating pollution. Katelyn Clews
7. "The Deltoid Pumpkin Seed - II." The New Yorker (17 February 1973), 42-77.
8. "The Deltoid Pumpkin Seed - I." The New Yorker (10 February 1973) 40-73.
In this article McPhee is explaining the development of a new type of airship that will be the ultimate way to transport goods around the world. It is not like a plane but a huge wingless airship that moves slowly through the air. The purpose of the title is that the airship will look like a pumpkin seed. I believe that the rest of this article will discuss in more detail the purpose of this new airship and also the work that will have to be done in order to make this possible. The company responsible for this new airship is called Aereons. Perhaps the article will talk about the possible investors in something new like this and the possible problems that could arise with this new invention. It will tell the story of how the company was able to proceed in creating such a new and innovative product. I am not sure if McPhee will contribute his own personal views in the article or just simply explain this story.--Jessica Holt
9. "A Reporter at Large: The Search for Marvin Gardens." The New Yorker 48 (9 September 1972), 45-6ff.
10. "Profiles: Ranger." The New Yorker 47 (11 September 1971), 45-8ff.
11. "Centre Court." Playboy (June 1971), 102-104, 246, 248, 250.
“Centre Court” by John McPhee begins with a tennis player trying to achieve a comeback. Throughout this article McPhee examines an intense tennis match paying close attention to every move; he shows interest in the players, their personal appearance, techniques etc. McPhee discusses Wimbledon using descriptive words to present the beauty of this tennis court such as “the green canvas fences, the beds of climbing roses, the ivy-covered walls and at the top of the ball’s parabola, it hangs for an instant in the sky against a background of half timbered houses among plane trees”( McPhee, 104). Throughout this article it shows that McPhee is very intrigued by the game tennis as well it shows McPhee did a lot of prep work before essentially writing the article for he mentions a range of facts about the players discussed throughout as well McPhee seems to be very involved--Kayla Lawrence
12. "Profiles: Encounters With the Archdruid III: A River." The New Yorker 47 (3 April 1971), 41ff. Described by Courtney Fox
Within the first page of the article, McPhee introduces the reader to Floyd Elgin Dominy. He is clearly going to be a prominent subject throughout the article as McPhee describes him in great detail, explaining his features, where he grew up and where he worked. The key element of doing this, however, seems to be that McPhee is setting up the subject of the article—the lack of water in North-eastern Wyoming and the problems it presents; essentially how the people within this community are destitute. It seems that McPhee will probably discuss this problem in further detail and why it is happening; why does east of the hundredth meridian have an abundance of water and irrigation systems and the west have severe drought? It is kind of interesting to see this article amongst the advertisements in The New Yorker. McPhee’s article demonstrates a severe problem in the world, and beside it is an advertisement for Dolce & Gabbana. -- Katelyn Mokler
13. "Profiles: Encounters With the Archdruid II: An Island." The New Yorker 47 (27 March 1971), 42-8ff. Described by Katrin MacPhee
"Profiles: Encounters With the Archdruiid I: A Mountain Described by Katrin MacPhee
15. "Reading the River." The New Yorker (21 March 1970), 126-123.
This article opens up with ramblings about canoes. McPhee describes what he thought a “canoe” was in great detail and the article continues with him talking about sleeping under canoes when he was younger and descriptions of different canoes. The article is fairly descriptive and can get boring at times. (Canoes aren’t all that interesting) Mcphee’s detail is surprising because he chose to talk about something as simple as a canoe. If you were to ask someone, “What is a canoe?” or “What does a canoe look like” many would simply say something along the lines of, “A hollowed out shape” or “A boat”. Canoe’s are very ‘simple looking’ and it was interesting to see him pull so much out of something so mediocre. Just from reading the earlier parts of this you can tell he’s really into these canoes. The article doesn’t seem to easily fit into “The New Yorker” because from what I read, it doesn’t have much to do with sports. From what I see just by glancing through the different pages, most of it is about fashion or high society kinds of things. I expect the part of the article I didn’t read to continue his talk about Canoes and more stories of his experiences with them. Acey Outerbridge -
16. "Our Far-Flung Correspondents: From Birnam Wood to Dunsinane." The New Yorker 46 (10 October 1970), 141ff.
17. "The Island of the Crofter and the Laird - II." The New Yorker (13 December 1969), 61-112.
18. "The Island of the Crofter and the Laird - I." The New Yorker (6 December 1969), 69-165.
The article begins with McPhee discussing the MacDonald’s of Scotland and how they were, I’m guessing…his potential relatives. Next he begins to discuss the neighbouring clans of the MacLean’s who capture the chief of the MacDonald’s and shoots him in the head with an arrow. McPhee is very descriptive when he is discussing the Scottish rapid weather shift “ Calm to wind driven”. He begins to give us a depiction of the Scottish islands and again he continues with his descriptive depiction “ When the ocean is blue the air is pure as a lens and the other islands seem imminent and almost encroaching”. He began naming locations of Scottish Islands and here he began to lose me. I began skipping over the next couple lines because I had no idea where he was talking about and I almost was annoyed at the way he was ranting about them. I always felt like I got back into the article when he began discussing the clans because they peaked my interest and I wanted to learn more. I felt the tension between the MacDonald’s and the MacLean’s and what seems to be there on going feud. I’m assuming that the rest of the article may tell a more in-depth story of each clan and how they became enemies and who prevails, fails and so forth. Jessica Bruce
19. "Levels of the Game - II." The New Yorker (14 June 1969) 44-81
.
20. "Levels of the Game - I." The New Yorker (7 June 1969) 45-111. Described by Brittany Douthwright
McPhee’s article, “Levels of the Game –I” appears in the Profiles section of the New Yorker. It is a long piece that continues throughout the magazine. It is the first substantial piece of writing in the magazine, as others are short stories in Talk of the Town. The opening part of “Levels of the Game-I” begins in the middle of a tennis match between Arthur Ashe and Clark Graebner. McPhee describes Arthur Ashe in intricate detail. His every movement of throwing the ball up and swinging in his serve is written down. McPhee sets up these two opponents, and the reader immediately gets to know each of them, just by their style of tennis. The profile continues, and is interspersed amidst the famous New Yorker cartoons, poetry and advertisements.-- Emma Smith
21. "Profiles: A Forager." The New Yorker 44 (6 April 1968), 45-50ff. **Described by Amy Lawson**
This article is all about foraging the earth for edible plants, roots and nuts. Evell Theophilus Gibbons has gained recognition for being able to survive off the land and he has written a few books on North American and foraging the land from Rio Grande to the Arctic Circle. Amy Lawson.
22. "Profiles: The Lawns of Wimbledon." The New Yorker 44 (22 June 1968), 32-57.
23. "Templex." The New Yorker (6 January 1968), 32-67. Described by Brittany Douthwright
The Article “Templex” seems to be about a travel writer who publishes articles on the best places to stay around the world. He writes about one place that he thought was one of the best in the world until tragedy struck and now he is in an investigation into what happened and if things have been fixed. You can’t really tell what has truly happened in this small town because you are not given enough information. All that you know is that something so bad has happened and all the people have become ill. I expect that the travel guide will go explore what is taking place because he seems to be a very into exploration of the unknown. With all the experience he is supposed to have about this town because of being there a few times it seems like he would be able to understand what has happened and if things have gotten better, so that his readers will feel safe if they went to this town. The reaction this short look at the story is that I don’t know what will happen to this man or the ill people in the future because I have not read enough of the story to know what will happen next. Andrew Bartlett
24. "Profiles: The Pine Barrens - II." The New Yorker 43 (2 December 1967), 66-8ff. Described by Brittany Douthwright
This article begins by describing one of the stereotypes of New Jersey. Where most people believe that NJ consists purely of “suburban industrialization,” there is actually plenty of “vast rocky and glaciated farm country.” These are areas where there is an abundance of lakes, forests and wildlife. There are large forests consisting of pine trees, which McPhee refers to as the “Pine Barrens.” The Pine Barrens cover almost a fourth of the state. He is worried about the preservation and wellbeing of these forests, as they are located directly in the middle of lands that are currently being commercially developed. He then begins to talk about a small town named “Chatsworth” which is located near the Pine Barrens. He goes into great detail about the town itself and its people. He explains how the majority of the people of Chatsworth earn a living, and what types of businesses are located in this town.I think that later on in the article McPhee will try to determine what kind of impact the Pine Barrens being demolished would have on these town folk. If at some point the forest is cut down to develop land, there would be major consequences and loss of jobs to those who make a living working in the forestry industry. – Courtney Fox
25. "Profiles: The Pine Barrens - I." The New Yorker 43 (25 November 1967), 67-8ff. Described by Matt McGrath Described by Emma Smith
The beginning of this piece written by McPhee reminds me a lot of another one of his pieces, "The Virgin Forest". It begins with a lot of deep descriptions of different types of tree that I am unfamiliar with. Although the details are superb, it is hard to imagine what he is describing because I do not know what a lot of the trees he is talking about look like. The landscape in which he is describing is in New Jersey, and it is clear that he is trying to change people's common misconception of New Jersey as just a city by bringing out the overseen beauty of the forests. I have no idea where this story might be headed, for I have not read very far into it. I am hoping that it does not break into a history lesson as it did in "The Virgin Forest". There appears to be more then one edition of "The Pine Barrens" which leads me to believe that there may be more of a story line. I am excited to read on and discover what this story has to offer. --Matt McGrath
26. "A Reporter at Large: Fifty-two People on a Continent." The New Yorker 42 (5 March 1966), 101-2ff.
27. "A Reporter at Large: Oranges - II." The New Yorker 42 (14 May 1966), 144ff. Described By Ianic Roy Richard
Having just finished an introduction to a McPhee article that really intrigued me, I found this one to be rather dull by comparison. This seemed more like the McPhee that I was expecting after reading In Virgin Forest – very descriptive, trailing off on tangents every now and then, and filled with references that very few people would likely understand. We get a pretty clear and descriptive sense of what it’s like to be in a big orange grove in Florida, and we also get what seems almost like a history lesson in fruit and citrus. Maybe he’s building to something more intriguing or profound, but based on the first page I’m not sure where he is going with this, or that I am really dying to find out. Is citrus really that interesting? -- Darcy Cameron
28. "A Reporter at Large: Oranges - I." The New Yorker 42 (7 May 1966), 142ff. Described by Joanne Goodall
This article by McPhee, is very different than any other magazine article I have ever read. In this article he is talking about oranges and orange juice in relation to culture diversity. He explains and describes where oranges grow around the world, the different types of oranges and what they mean to the people in different cultures and what they represent. I learned a lot about different countries and their diverse cultures in relation to oranges. Who eats them, how they eat them, where they grow and so on. For example one quote from this article states “ People in Nepal almost never peel oranges, preferring to eat them in cut quarters, the way American athletes do.” In Australia, children peel the orange down and eat it as if it were an ice cream cone. So many facts were packed into this one page article, I would love to keep reading on to see what else McPhee has to say about these interesting and diverse fruit of oranges. He is very descriptive about the oranges, I could visualize what they look and in some cases what they would taste like. He explained that in some countries, there are different uses for oranges other than eating. For instance; in Jamaica the women there cut an orange in half and put both halves in their hands and clean the floors with the halves of the oranges. Neat tidbit of info! Overall I found this piece by McPhee, very informative, descriptive, interesting and different. ~Jessica Marr~
29. "The Headmaster." The New Yorker 42 (19 March 1966), 57-8ff. Described by Evan Bower
30. "A Sense of Where You Are." The New Yorker 40 (23 January 1965) 42ff. Described by Deanna Gamble, Ianic Roy Richard was thoroughly fascinated with this issue of the magazine as it was from the late sixties. The advertisements were old style yet were promoting the same products that magazines do today. Unlike the later editions I looked at this had a much simpler index, so I had to go looking for the article.I finally find the article, and it is a profile on William Warren Bradely. I quickly flip through the pages to discover it takes up the majority of the magazine issue. Bradely was an amateur basketball star. He was also a prestigious academic student who went to Princeton University. He comes from a wealthy background but was offered many scholarships to many great schools for his basketball abilities. He chose Princeton University even though they did not offer him a scholarship and as McPhee described at the beginning of the article a very poor quality gymnasium. Bradely was a basketball player from the start. McPhee explains that “his environment was limited to home, gym, and playground”. It was almost as if his career path was chosen for him. His career was fantastic too, he was offered many spots on the NBA and won gold medals at the Tokyo Olympic Games. I believe McPhee will go on more to tell of Bradely’s life beyond basketball. All of McPhee’s articles so far seem to have something to do with nature and the importance of preserving it. --Mackenzie Heckbert
31. "Basketball and Beefeaters." The New Yorker (16 March 1963) 186-194. Described by Kayla Lawrence **
This article is about Mr. McPhee and his time on the Cambridge Basketball team in the 1950's. The article is about a tale he once told to a man with similar experiences in the game of basketball. He starts off by telling the reader about how basketball courts used to be, dark, and awkward in places where basketball games shouldn't be played. He explains that while those courts back in the day were less than adequate for the game, the new courts with their shiny surfaces are "boring". McPhee claims that the new courts don't allow for the same epic stories, such as the old ones did, in a sense they are too perfect. McPhee starts telling the epic tale of his basketball game, held at the Tower of London (which he admits to being a lie), and then changes gears to explain to the reader how he got to playing basketball in London in the first place.
The first page (350 words or so) in which i read seem to be in a humorous tone. While he is not making a joke, his writing makes the reader smile, as well, as you can imagine, the man he is telling the tale to. As for the rest of the article, I can envision he continues on with his tale in which is full of exaggerations, writing with a humor that can only be described as cute and light. -- Dana Lineham
Garrett Derrah's Learning Synthesis
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